The Successful 
Embroidery Shop 



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Class 

Book 

Copyright^ . 



COPYRIGHT DEPOSIT. 







The Successful 
Embroidery Shop 



A BOOK THAT DEALS WITH 

ART NEEDLEWORK 
AS A BUSINESS 




By GUIDO VON HORVATH 



Published by THE VON STUDIO, Inc. 

6032 WASHINGTON AVENUE 
PHILADELPHIA. PA. 




8<l^^%^^$^^^ttC%XX^t>X<I^X8tttttttUX>itttttttttttltttlt<ttt3 






Copyright 

By the Von Studio. Inc. 

1917 



NOV 28 1917 



©CI.A477745 

i 



A Book that Deals 

with Art- Needlework 



as a Business 

f 



The Von Studio, Inc. 

has an established reputation as the most original and reliable 
school giving specific instructions in branches of designing 
listed on another page. 

Every branch of the industrial and home art needs special 
knowledge; the cartoonist cannot create marketable embroid- 
ery designs without first studying the principles of art needle- 
work embroidery. He may be able to design something beau- 
tiful, but ninety-nine times out of a hundred it could not be 
embroidered. 

THE VON STUDIO, INC., methods of teaching de- 
signing are tried and true. 

One thing at a time, but that one thing thoroughly. 

The results of THE VON STUDIO, INC., methods 
are reassuring. 

Since the introduction of the SELLING LESSONS for 
the designer, more than 65% of the VON students have com- 
pletely mastered the art and business of the chosen branch. 
This is an unusually large percentage and if it were not for 
the fact that a number of students take our Courses merely 
for their own benefit, (for art's sake and not for business) it 
would be larger. 

The tuition fees charged by THE VON STUDIO, INC., 
for the Courses in Designing are so small that anyone can 
afford to enroll, without causing any great disturbance in the 
budget of her income. 



The Von Studio, Inc. 

THE VON STUDIO, INC., prides itself on the fact 
that it gives the very best and quickest service, in the most 
personal, direct manner. Most of the critical service is given 
in the handwriting of the special instructor and originator of 
the Courses. 

This method cannot help but bring about a most satis- 
factory and pleasing relationship with the students. THE 
VON STUDIO, INC., makes it a practice to keep in touch 
with all the students, even of long years' standing, and in this 
way helps them over difficulties and discouragements that 
always come to those who are trying to begin a business career. 

The special Course in Initial and Monogram Designing 
has such a wide scope that any student who takes it, in con- 
junction with the Selling Lessons, cannot help but find suc- 
cess without further assistance. 

The Selling Lessons are conceived on such a splendid basis 
that many students who have had difficulties in mastering the 
selling end of the profession become independent at once. 
The Selling Lessons clear away the indecisions, giving the 
student a concise and straightforward idea of getting business. 
They give a number of selling systems, one of which will be 
adaptable and suitable for every student. They put a stop 
to the blind fight for independence, for they lead straight to 
success. 



How to Study Embroidery 
Shop Practice 

The student who wants to make the most of the compact 
knowledge presented in this volume must, first of all, read 
the entire book. After the first thorough reading comes the 
specific study, and the making of notes to fit the student's 
own case. 

If you are already in business, you will have to study the 
work from a different angle than if you are in preparation for 
business. To the shop-owner, the information will give new 
impetus and new ideas for development; to the beginner, 
courage and system to start well. 

After the first reading, the possibility of questions arises. 
Many stores and many beginners have to face unusual circum- 
stances which can only be handled in a direct way. For this 
purpose, the Question Coupons will be found necessary. 

The VON STUDIO, INC., works out the plans for 
many beginners in this field, helping them to make the right 
connections with the right people in the right time. Above 
all, the question of where to buy is of great importance, and 
such questions are handled expertly. 

Our recommendation has a far-reaching effect toward 
future success. After we have satisfied ourselves concerning 
the standing of the student, both in a moral and a business 
sense, we are in a position to give powerful assistance to the 
deserving. 

It is worth while to know that THE VON STUDIO, 
INC., sells only knowledge and information. With the ex- 
ception of the VON Scallop Marker, which is our own pat- 
ent and manufacture, we do not sell merchandise of any 
description. 



TABLE OF CONTENTS 

Page 

Introduction 7 

The Fancy Goods Business 9 

The Vital Point 11 

Who Has the Best Chance in the Fancy Goods Business?. . 12 

The Embroidery Shop 15 

The Division of the Inner Workings of the Art Needle- 
work Shop 17 

I. Originating 18 

Designing . , 20 

The Planning of Articles 24 

Calculating 26 

Getting Ready to Produce 28 

II. Manufacturing 29 

Perforating 29 

Cutting 31 

Stamping 31 

Double Stamping 41 

Triple and Multi-Color Stamping 43 

Preserving and Handling Perforated Patterns 44 

Stamping Pastes and Liquids 46 

The Use of Kerosene Oil 51 

Tinting 52 

The Stencils 54 

Handling of Stamped and Tinted Goods 55 

The Shop 56 

The Shop and Its Fixtures 59 

Embroidery and Models 60 

Securing Good Models at Low Prices 62 

Manufacturing or Making Novelties 63 

Utilizing Waste Materials 65 



4 Table of Contents 

Page 

III. Buying 66 

What and How to Buy 67 

Different Methods of Buying 73 

Price List of Piece Goods 74 

Stamped Goods, and Stamped and Ready Made 

Goods 78 

Package Goods 79 

Imported Goods 81 

Laces, Edgings, Trimmings 85 

Embroidery and Crochet Threads 88 

Tools, Specialties, Patented Articles, etc 92 

Testing Quality 93 

The Count of Warps and Filling Threads 95 

Testing Fast Colors 96 

The Establishment of a Shop with the Lowest Pos- 
sible Investment 98 

Starting a Shop with Ample Capital 102 

IV. Selling 106 

Means of Marketing the Product 106 

The Sale Over the Counter 108 

1. The Resort 109 

2. The Progressive Town no 

3. The Small Town no 

4. The Suburb in 

5. The Business Center in 

The Principles of Making Prices 112 

At the Counter 114 

Sales by Mail 118 

The Sale to Order 120 

The Value of Advertising 124 

The Care of the Show Window and Counters 125 

What Makes a Shop Attractive 127 



Table of Contents 5 

Page 

Business Management 128 

Hiring Help 129 

Advertising for Help 130 

The Question of Salary or Wages 133 

The Outside Workers 134 

Supervising the Work in General 135 

Correspondence 137 

Bookkeeping 139 

Various Records 141 

Price Marks 141 

The Turnovers 142 

The Stock and Stock Taking 143 

Names and Addresses of Supply Houses of Interest 

to the Shop 145 





INTRODUCTION 

j HERE can hardly be found a more congenial busi- 
ness for an enterprising woman than the conduct- 
ing of an art needlework shop. Aside from its 
inviting and pleasant qualities, it has the promise 
of prosperity and independence. 

A good many years ago when fate directed my steps toward 
the realms of art embroidery, I searched through libraries and 
book stores for a guide, some sort of handbook or anything that 
would give definite instructions and information concerning my 
new trade. But my efforts were in vain — there was nothing, 
absolutely no book on the market that would tell me a word 
about the right way to supply the demands of the embroidering 
public. This condition naturally told me that whatever success 
I might achieve would be through my own experiences, and 
consequently I kept my eyes wide open. 

For a long time, hardly a day passed that did not find new 
ideas jotted down in my note book, ideas which I had en- 
countered in my work, and partly in observing the work of 
others. 

Through being connected with a large and successful house 
right from the start, I was, in time, able to gain a complete 
perspective. 

Looking back on the time when I entered the art needlework 
business, I recall my longing for a handbook which could set 
me straight, right from the beginning. This longing has urged 
me to put down, in simple form, the results of my own experi- 
ences. 

I would have given a great deal for the knowledge com- 
piled in this book, those days, for it would have saved me time, 



8 Introduction 

worry and money, for it would have given me a surer foothold 
and quicker advancement. 

In the hope that this volume will help others who are in this 
field already, or who contemplate entering it, to accomplish a 
great deal more in the art needlework business, and carry them 
to a sure and quick success, I put my efforts before the public. 

The Author. 





The Successful Embroidery Shop 



THE FANCY GOODS BUSINESS 

HOUSANDS and thousands of people are en- 
gaged in the Fancy Goods Business. On one hand 
we find shops that are both small and large, and 
on the other are all sorts of importing and manu- 
facturing houses. Between the two a brave art loving army 
is fighting its daily battle on the field of business. Their success 
is in proportion to their ability and their ability is based on 
knowledge. 

As is but natural, the smaller enterprises are mostly in the 
hands of women. The needle and thread seems to be closer to 
them and the love for home beautifying and personal adornment 
is more developed in their sex. 

Beyond question, the fancy goods business is a good and 
lucrative one. Nevertheless, many ambitious and brave women 
have failed with their shops, even under the most promising 
circumstances. Others are barely making a living, whereas 
every one should be prosperous. 

The reasons for failure are not so much in lack of capital 
and business ability, as in a lack of a broader knowledge of their 
business. Most of those who have failed would have never 
attempted the conducting of a shop if they had known the de- 
mands of such an enterprise. 

The fancy goods business demands a great deal more than 
a mediocre knowledge of embroidering. True, without this 
knowledge, and without good taste and an exquisite color 
judgment, no one should attempt to enter the field, for these 
are the fundamentally necessary qualities. But there are a 
number of other requirements just as essential, or more so, 
which must be taken into consideration. 

Therefore, we can safely say that, since knowledge is such 
an essential factor, it must be acquired. 



10 The Successful Embroidery Shop 

The fancy goods business consists of merchandising and 
manufacturing. It requires the ability to buy desirable mer- 
chandise, of selling this merchandise at profit, of manufacturing 
such goods as are in demand, and of selling this output 
successfully. 

To make matters as clear as possible, the whole principle 
of the Fancy Goods business is followed out in the order which 
seems the most natural — the order in which business itself 
goes. First comes the idea, then its development, and finally 
comes the selling end, but in between there are many questions 
of importance answered and explained fully. 





The Successful Embroidery Shop 1 1 



THE VITAL POINT 

j VERY business is in existence for a single purpose : 
To make money by serving others in some capacity. 
The Art Needlework or Embroidery business 
caters to the home art lovers and by supplying their 
needs, make money. 

Since times unknown, women have exhibited a love for home 
art, finery of all sorts in their homes as well as in their wearing 
apparel. Therefore it is but natural that women are the custo- 
mers of the art needlework shops. They have an inborn love for 
this kind of work, which is the motive power of the needle- 
work business. The demand being there, the question of sup- 
plying the demand brought forth the art shops and the whole 
great fancy goods business. 

With this idea in mind, that we are here to serve the de- 
mands of an art loving world, of critical and sometimes super- 
critical ladies, we can start out to find the essentials by simply 
following the business from its start to the finish. 

This can be done best only by honest efforts toward giving 
an exhaustive and satisfying service. And such a service can 
be rendered only if the shop keeper or the manager of the art 
department knows the business from A to Z. 

With all its simplicity, there are thousands of details, simple, 
it may be, in themselves, yet until now, there has been no place, 
or handbook from where a complete and practical knowledge 
could be acquired. 

The only master was personal experience. Experience is a 
good but an expensive teacher and for those who can make a 
short cut in acquiring knowledge by study, and develop it by 
exercising this knowledge, a much brighter and safer future is 
opened. 

Ail this tends toward one point: to be an able manager, to 
serve the great buying public successfully, you must know your 



12 The Successful Embroidery Shop 

business. These manifold details are the essentials and in 
possessing them, an art needlework shop or an art department 
will have a bright future. 

WHO HAS THE BEST CHANCE IN THE FANCY 
GOODS BUSINESS? 

Undoubtedly those who have an inborn talent for the art 
of embroidery. 

Right here it is necessary to delve into the question deeper. 
Who are those who possess this desirable gift? There are 
many needleworkers who produce very commendable work. 
Many who can wield the needle and copy or follow out the 
instructions of others to the last letter, with wonderful results. 
Yet, when they are left alone, they become helpless. They have 
not the ability to arrange colors, nor to develop some simple 
design. They rely entirely upon the easily acquired stamped 
products which, of course, are plentiful. 

Such needleworkers are good artisans, perhaps, but alto- 
gether different talents are required when it comes to the man- 
agement of an art needlecraft shop. 

These talents might be in the make up of the above men- 
tioned workers, but they are dormant, and, as such, useless, 
until awakened. 

Therefore it is a good thing to prove oneself and to make 
a test to find out whether such qualities as a needlework shop 
manager should have are within their power to develop. 

What are these qualities? 

They can be divided into two main classes: One is Origin- 
ality and the other is Business Ability. 

To make the two great powers clearer, we shall handle them 
first separately, then bring them together. 

Originality is the power that enables one to originate. 
Either altogether new things or embellishing objects that are 



The Successful Embroidery Shop 1 3 

already known with some entirely new feature. Inventing new 
ways and arrangements. 

To avoid any misunderstanding, it is necessary to always 
remember that everything said here pertains to embroidery, the 
art needlework shops, and to nothing else. 

From the demands of originality, it will be clear that the 
ability to embroider artistically is not necessarily originality. 
Then, again, the manager of the shop who cannot embroider, 
or at least not so skillfully, might possess originality which is 
far above the quality of being able to embroider. 

Probably this appears, on the surface, contradictory, yet it 
is not. 

Embroidery is a useful asset, but originality is far more 
important to the owner or manager of an art shop. 

Now, then, those in the business should put two and two 
together and find out how they stand so far as originality goes. 
If they are able to create new things, be these the simplest 
novelties, a design or what not, they can gather up courage 
and attempt more difficult things and succeed. But, if they 
are helpless when it comes to planning the arrangement of an 
entirely new design on a gown, or the new form of a doily, 
they should try to get someone to do these things for them, 
for this originality is one of the mainsprings of success in this 
business. 

There is no need of getting discouraged if an experiment 
in testing yourself should prove to you that you are not original 
— on the contrary, it should spur you on to further efforts, for 
it is worth the trouble for you to find yourself. Besides, in 
very many cases, the fact that one is unable to originate new 
ideas means no lack of dormant talent, but lack of courage in 
starting things. 

Not only in the trenches, but also in the battlefields of 
industries, one must fight and one must be brave. 

Once having passed the seeming barrier, the latent powers 



14 The Successful Embroidery Shop 

awakened, they will not rest, but they will constantly demand 
expression. 

This is the same in every branch of art, the only difference 
being that for most professions, one has to study, while in this, 
one generally stumbles on it unawares. 

Originality in art embroidery will greatly influence the 
success of an art needlework shop. It will give a distinction 
to its products, the definite touch that original management 
gives to everything; at first glance it is not visible, but it is 
there and as time goes on, it develops into a great business factor. 

Adding to this the ability of first class embroidery, one of 
the main assets is at your disposal, and you must make the most 
of it. 

The next is to expound the question of business ability. It 
would be just as well to call this able business management. 

It is hard to define business ability, as it was to explain 
originality. 

It is a qualification that is even more valuable, from a 
momentary standpoint, than originality. The ability to manage 
an enterprise, in our case an art needlework shop to its best 
development. To produce big results with the smallest possible 
expense. 

Also, this qualification is more or less an inborn talent, just 
like the other, it must be developed, cultivated and cared for to 
bring it into full possession of its power. Once possessed it is 
worth a great deal and it invariably will bring rich rewards. 

Business management, however, is something that can be 
learned ; anyone can acquire at least enough of it to be successful. 
Its main requirements are: System and the knowledge of the 
inner workings of the business. 

In the following details handling the fancy goods business 
in all its parts, both these main demands are expounded. In 
a general way, we might say that, while originality tends toward 
the creative end of the business, the business ability turns the 
ideas into money. 



The Successful Embroidery Shop 15 

Therefore, anyone who is contemplating an entrance into 
the field of fancy goods as a profession, should seriously weigh 
her own powers and, in advance, make a balance, estimating 
what chance she has of success. 

Those already in the business, by considering the foregoing, 
will be able to adjust matters to the demands, as they exist. 

It is also important to consider that the ego, the big I, 
might not possess both of these great qualifications, whereas two 
or more in harmony might even more successfully solve the 
problem. 

For instance, a store with a manager of business and an art 
manager might bring better results than if both qualities were 
united in one person. Creative minds, full of originality, are 
not apt to be good business managers. 

Summing it up: the best chances to make a success in the 
Fancy Goods business go to those who have a great deal of 
originality and also business ability. 

THE EMBROIDERY SHOP 

The places where fancy goods are sold are very seldom 
called "stores." A little thinking will make it clear why this 
is so, and will reveal a very important point that lurks behind 
this distinction, therefore it is worth while for us to dwell on it. 

A store is a place where goods, all sorts of merchandise are 
hoarded up to be sold to the buying public. 

A shop is more than that; aside from being a place to sell 
merchandise, it also suggests industrial activity. In a way, 
manufacturing. 

The reason for this distinction concerning fancy goods is 
in the fact that the fancy goods business is very closely con- 
nected with manufacturing. In a way, the word "Store" would 
not cover it completely, since, besides the buying and selling of 
merchandise, industrial activities are demanded from the 
establishment. 



16 The Successful Embroidery Shop 

Before attempting to consider these industrial activities 
closely, it will be well to determine what this work really is 
and what it produces. 

The merchandise handled by the art needlework shops is 
varied but, in a general way, they belong in two main classes: 
Goods which need no further handling, but are ready for sale 
in the very form in which they reach the owner of the shop, 
and goods which have been bought for further development. 
Goods which must undergo certain changes before they are 
ready for sale. 

This latter class consist mostly of fabrics, materials to be 
stamped, tinted or embroidered before they are in a shape for 
sale. 

Here we encounter the first industrial activity of the shop. 
Yet a complete shop does not start at this point ; the beginning 
is quite a way off, for before one can stamp or tint, one must have 
patterns to stamp and stencils to tint with. The paraphernalia 
to do the stamping and tinting, must also be on hand. And 
before all this can be carried out, someone has to design the 
patterns, to conceive the ideas and figure out the articles to be 
made. 

Therefore, as it is clear, the embroidery shop is quite a 
factory in itself, that is to say, a shop that wants to progress 
and prosper as fully as such an establishment can. 

All this tends toward one point, to show that while it is 
a simple matter to sell goods of any kind, if there is a demand 
for the merchandise, it is not so simple a matter to conduct a 
needlework shop if that place wants to be a real shop and not 
merely a store. 

A shoe store can probably prosper without a repair shop; 
a hat store does not need to have a cleaning establishment con- 
nected with it in order to do a good business, but to be really 
successfull in the fancy goods business, the retail end of it, 
the shop idea is the only one that can be considered really 
promising. 



The Successful Embroidery Shop 1 7 

In a shop of this kind, there is as much money as the manager 
is able to command, as much as he is able to give service for. 
In plain words, all a shop of embroidery has to sell, besides 
merchandise, is actual service. Not like a doctor or a lawyer, 
but definite, individual service. Those shops which can give 
this service cannot fail. More, they cannot help but prosper. 

The details of this individual service are the main parts of 
this book. They embody all the information that a shop keeper 
or manager needs to know in order to handle the business 
successfully. 

THE DIVISION OF THE INNER WORKINGS OF 
THE ART NEEDLEWORK SHOP 



Originating. 



2. Manufacturing. 

3. Buying. 

4. Selling. 

5. Special services. 

These five main divisions are the skeleton upon which the 
whole business is built. 

Each division handles a number of details which are given 
due consideration as the work proceeds in the degree of their 
usefulness. 

The divisions are handled in their natural order and a great 
deal of care was exercised in making the descriptions of these 
various processes as simple and direct as they could be made. 

The formulas for certain manfacturing processes are given 
to the public in this book for the first time, and many new and 
valuable informations of how to do things are published for the 
benefit of those who are anxious to be successful in their business. 

Now, here is one point which might lead to mistakes, and to 
avoid them, it MUST be understood that the divisions or sec- 
tions which are pointed out in this book, do not mean barriers, 



18 The Successful Embroidery Shop 

and do not refer to large establishments where such divisions 
are, as a matter of fact, necessary. The meaning of our classifi- 
cation is a mental organization, and the smaller as well as the 
bigger shops can make use of it equally well. A small shop 
is necessarily a one-head affair, and these details will be of 
untold value to the manager of such shops. Whereas, in a 
big establishment, the different parts of the business might be 
run under specially trained men or women. 

The art of originating might be separated from the manu- 
facturing, the buying and selling might be under another 
manager, etc., but in a small establishment, all these melt into 
one. Every bit of work is reduced to the capacity of the place, 
therefore most shops will profit by the general knowledge given 
in this volume. 

I. ORIGINATING 

TO originate means to start something ; to put into existence 
a new idea; to develop something new from an old thing. 
In other words, to put the force into a business that moves it 
forward and creates the desire in the buying public to procure 
the goods. It is a power of almost unlimited possibilities and 
undoubtedly the nucleus of good business. Especially in in- 
dustries which are concerned with branches of art, originating 
is of immense value. 

So far there are only a few shops which realize the tre- 
mendous value of this factor, and those who have, are all 
prosperous. Most managers or proprietors of shops have never 
considered this factor closely enough, and many who have, have 
not dared to attempt its introduction into their business, for 
fear it was beyond their capacity. The only reason for this 
impression is the fact that they did not study the question closely 
enough, and, above all, they did not realize the great importance 
of this valuable business factor. 

Then, again, custom, or habit, has presented its hindering 



The Successful Embroidery Shop 19 

influences, and with the thought that "mother did it so, I don't 
see why I should try to do it differently" the matter was settled. 

In these days of keen competition, however, it will impress 
any business man or woman very forcefully, when we present 
an argument of whether or not they should be satisfied with a 
profit of 15% by the old-fashioned method, or 35% when it 
comes to adopting a new method. Fortunately, the fancy goods 
shops have the choice, not in everything, but in many things, 
where they can work on larger profits by exercising the power 
of originality. 

Not more than fifteen years ago, this would have been 
considered a far-fetched statement, but so was the aerial navi- 
gation, the automobile, and wireless, as well as many other things 
of modern times. Today, when industry, mental power and the 
manifold sciences are reaching forward, such simple things as 
increasing the earning capacity of an art needlework shop will 
find willing listeners. 

Originating is one of the factors which will help those shops 
which are willing to be helped. 

To exercise this business asset, the shop will have to learn 
the ins and outs of the business and the methods which will 
enable them to earn profits and, by doing so, give a more com- 
plete service to their customers. 

Art needlework was once an individual art — now it is on 
the point of developing into an individual business. It is the 
birth-right of this business to be individual, and it is up to the 
shops to profit by this trend of the times. 

The "how" is explained as follows: 

The originating for those who are merely conducting a buy- 
ing and selling shop is done by the wholesaler and manufacturer. 
The large concerns make articles in the car-load lots and the 
shops buy it; they make their profits on what they sell, lose on 
what they cannot sell and there the matter ends. 

The small shop which originates its ideas, buys the materials, 



20 The Successful Embroidery Shop 

and manufacturers its articles upon demand. Thereby this shop 
gains, first of all, a double profit, and has no dead stock on 
hand which might prove a clear loss. 

This is but one example, and is as clear and strong an ar- 
gument in favor of originating as anyone would want. 

It increases profits and cuts down losses. 

Naturally, the question arises: What then is the price of 
this valuable asset? It costs but little money, but it requires 
a great deal of energy, thought and study. Once mastered, or 
even partly mastered, it will give the shop a prestige and pay 
liberal returns. 

The way to learn to originate is practically the same thing 
as learning to stand on your own feet, to use your own faculty 
in producing articles to be sold. You have a great deal of 
experience at your disposal, know many things concerning these 
articles, and there is really no reason why you should not make 
them up yourself. 

Then, fortunately, there is also a middle way, if originating 
is out of the question, there are other means of adapting worth- 
while articles and putting your individual stamp upon them. 

All these should serve as a stimulant for the successful shops, 
and encourage them to delve into the science of originating as 
it is set forth in the following: 

DESIGNING 

Before embroidery can be undertaken, there must be a 
design on the material to be embroidered. This design is the 
foundation, the needle and thread build it up into a complete 
article. 

From a commercial standpoint, a piece of cloth with a 
design on it is termed "stamped goods." 

Customers who buy these stamped goods very seldom ask 
themselves "from where does this design come?" They are not 
interested in the origin of the design, but the shop keeper should 
be interested, for it is in his shop's interest to be so. 



The Successful Embroider]) Shop 21 

The matter of designing, therefore, is of vital interest to 
those who want to partake in the rewards offered by originating 
for the embroidery shops. The most up-to-date and simple 
method of acquiring the ability to design is to take a course 
in designing by the VON Method. 

This correspondence school has perfected a method whereby 
the difficulties of draftsmanship are eliminated ; it requires noth- 
ing of the student but the ability to read, write and understand 
the simple instructions which in a rapid, sure way, develop the 
originality that is lying dormant in the student's brain. This 
VON system was devised as a practical help to those in the 
art needlework business and is useful from the beginning to the 
end. 

Therefore, those who want to master this vital part of 
originating should not hesitate, but take up this course as soon 
as they realize its need in their business. 

In a needlework shop, designing will come in as a very vital 
part of the business. It gives the shop all the advantages of 
larger earning powers, by developing its own line of goods, 
instead of buying them from wholesalers and manufacturers. 

A designer who is able to furnish designs, put the same on 
the required material and, if demanded, embroider it, undoubt- 
edly is fortunate and can demand prices for such services which 
a shop, with mere selling powers, could not dream of. Take, 
for instance, a complete trousseau for the daughter of the rich 

Mr. . It would be worth the earnings of a month, or 

more, if you had to turn down the order because you could 
not originate the articles as well as the designs themselves. All 
this tends toward one point: Learn how to design, and if you 
are not in a position to acquire this art by long and tedious 
study in an institute, take the short cut, and learn it by the 
VON system. 

Designing has a great influence on the shop and its custo- 
mers. The practice of designing gives infallibly better judgment 



22 The Successful Embroidery Shop 

in the beauty of embroidery. It develops good taste quicker 
than any other study, and it enables the designer to place the 
customer's special desires, and, above all, it gives prestige and 
dignity to the work. 

All this, and the fact that by being your own designer, a 
number of money making and expense cutting opportunities are 
shown to you. 

Under the chapter of how to secure cheap models are a few 
more ideas given, which hinge on the ability to design, at least, 
to a limited degree. 

The field of initial and monogram designing is also one of 
the well paying sections of the art. It needs a very limited 
ability to do this sort of designing; there are any number of 
ways to secure alphabets and use them for models in your work. 

To secure perfect harmony in embroidery, nothing will be of 
greater assistance than to know how to design. To know how 
any design is assembled into a pleasing whole and to be able to 
apply the design to other uses. 

As an example, let us say that there is a very good selling 
design in your shop: a baby jacket, for instance. There is 
always a good reason why that particular design outsells others. 
Probably a happy and simple composition that cannot fail to 
appeal to every beholder. Now, if you are able to design, you 
can, by applying that motif to other articles, increase your sales. 
If you are able to make up a whole set of infants' goods, a 
hood, a long coat, a bib, a baby pillow, a carriage robe, a cape 
and what not, with that same attractive pattern, it is but natural 
that your business will increase, and that design will pay you 
many times over, instead of just once. 

How do the manufacturers do it? 

Every large concern has its European buyers. We cannot 
deny that the big art centers of the Old World produce wonder- 
ful things in art and art industry. Many of these products are 
not exactly to our taste, but it is the buyer's duty to select 



The Successful Embroidery Shop 23 

those which are, or which can be utilized to the best advantage. 

This last remark can be applied by the smaller shops, also. 
When the owner of a small shop has once secured a good idea, 
it must be forced to earn every cent possible. But to make the 
best possible use of a good idea in designing, the ability to de- 
sign is necessary. 

Sometimes it is possible to secure finished models at very low 
prices. For instance, manfacturers generally dispose of their 
samples 50% off, sometimes for even less. Among these de- 
signs are excellent sellers, notwithstanding the fact that the 
manufacturers are ready to discard them. If a clever shop 
manager knows of such opportunities, she or he does very well 
by securing a lot for use as exhibits in the show window and 
the shop. The public taste will soon tell which are live sellers. 
To copy them, and to stamp them for those who know the 
process, is easy and pleasant. It is needless to emphasize that 
this is a good way to earn larger profits, the fact is obvious. 

The possibilities of a retail store conducting business in a 
scientific and up-to-date manner are so numerous that it is 
almost out of the question to enumerate them. 

But one more important point must be mentioned: The 
utilization of waste materials. Pieces which were cut to a 
disadvantage; sections of materials left over from manufacture. 
These pieces might be 4" or 16", but to one who is able to 
design and originate the 1000 and 1 articles which can be 
designed from textiles, this waste will not be waste, but one 
more source of profit. 

Dainty bags, holders for flat silver, napkin rings, patched 
centers, all sorts of pockets, belts, accessories, neckwear, collars, 
cuffs and pin cushions can be devised by the ingenious and sold 
for good prices. 

It only takes thinking and designing. 



24 The Successful Embroidery Shop 

THE PLANNING OF ARTICLES 

Designing also covers the field of planning the articles. The 
design in itself is the decorative part of an article, but the 
creation of this article is just as important. Only there is not 
as great a demand for this sort of activity as for the designs. 

Before a house is built, the architect must draw a plan of 
the whole. He considers the dimensions, materials, cost, etc. 
Then the actual work begins. The making of new things for 
the fancy goods trade is very similar. Elaborate plans are very 
seldom necessary, it is true, but the details must be thought out 
and must be conceived before the article can be made. 

This mental process is the planning. Very often, instead 
of taking pencil and paper, the designer takes the scissors and 
some material and cuts the idea out instead of drawing it. 

Sometimes a hasty sketch is made. 

But once this general plan is ready, the work will be mostly 
of designing the correct shape and the making of a cutting 
pattern for the article. Very many objects of art needlework 
are standardized, and such do not demand special planning, but 
novelties, which are really novel and striking, do. This sort of 
originality is women's realm. The beautifier of the home has 
a longing for such expression of creative ability. It is indeed 
worth while to give free hand to such talents, for very often 
a single good thing will result in rich profits. 

Some of these articles, generally termed novelties, do not 
call for a design, this is especially true when ribbon and dainty 
figured stuff is worked up. Sometimes, again, a touch of paint- 
ing can be applied with excellent results. 

There is a tremendous demand for this kind of novelties 
just before the Holidays, therefore those gifted with creative 
ability in this line will do well to prepare such articles during 
dull times. These articles can all be bought from the whole- 



The Successful Embroidery Shop 25 

saler and jobber, but naturally the more original and varied 
forms will sell better. Besides this, they will not cost so much. 

To acquire good taste and good results, one has to learn 
how to make these things correctly. Especially pasted articles 
are difficult to manufacture satisfactorily. Excel in a few 
things and leave those which are not especially adapted to your 
abilities alone. 

The best way to learn is, undoubtedly, by experience, and 
by constant watchfulness over the doings of others. When- 
ever you have an occasion to visit the large city stores, where 
the best examples of artistic novelties are exhibited, do so, and 
make notes and, if opportunity permits, sketches. 

When originating novelties a very important thing is to be 
remembered: Practical, simple things for use always prove 
much more profitable than the most artistic creation which is 
only good to look at. 

THE COMMERCIAL SIDE OF DESIGNING 

Designing is a word of broad meaning; it holds many dif- 
ferent sections of creative work, and a designer might be an 
excellent artist, without possessing technical knowledge of the 
objects which he delineates for use by practical men and women. 
The artist is like a magician who calls forth from the dark 
forms of beauty, decorations of great charm, and places them 
on his paper or canvas, just as his imagination dictates. 

Such designing is the ideal creative designing from the artist's 
standpoint, but it will be found far too expensive and impractical 
for commercial purposes. At least, in the case of an embroidery 
shop. 

This is the main reason why the author advocates the ac- 
quiring of the art to design by the needlework shop owner, or 
vice versa. 



26 The Successful Embroidery Shop 

If a woman knows how to make beautiful things in art 
needlework the materials, the ways of their working, and all 
the details of the embroidery business, as well as how to design, 
her work will be decidedly artistic and practical. In other words, 
she will move inside the limits of the embroidery art. Every- 
thing considered, this kind of embroidery art will be far 
superior to the hap-hazard kind. 

The main importance of special commercial knowledge lies 
in the directness with which the tasks of the designer are solved. 
It assures the right use of the right thing. It stands for safety, 
and insures against the high cost of manufacture. All these 
are vital for success. 

To give a few practical examples: 

The designer who knows the limitations of perforating will 
not make designs which cannot be perforated, nor such which 
wear out the patterns too soon. 

The designer who knows the cost of materials will move 
within the price limit. 

The designer who knows embroidery will not create designs 
which are impractical or difficult to work. 

The designer who knows what materials are on hand will 
not make designs for material which will have to be bought 
especially. 

There are any number of details which speak for the neces- 
sity of practical knowledge for the commercial designer. 

CALCULATING 

Calculating could have been placed under the general chapter 
of Management, but it is so closely connected with the creative 
part of the business that it was decided to give it a special 
chapter of its own. 

Calculating means to figure out the cost of a new article, or 



The Successful Embroidery Shop 21 

of any article the shop wants to make and sell. It is a very vital 
thing to make calculations and to be very thorough with them. 

The result of a carefully made calculation is a sum upon 
which the selling price is based. The difference between the 
cost and the selling price is the profit which keeps the shop alive. 

The size of this profit is determined by a number of factors, 
individual to every shop, but they should always be calculated 
with the consideration of the main factors. First of all, the 
profit should be sufficient, second, it should meet the prices in 
use — the prices of the competitors. 

This will make it clear that the shop which is able to meet 
the usual prices and have a larger difference between the cost 
and selling price will prosper. The question of managing this 
rests with the shopkeeper's ability. In the following is a 
practical illustration of calculating: 

We want to make a 27" centerpiece of brown linen. We 
have the grade of linen we want to use in stock. It is 54" 
wide and costs 50c per yard. 

Therefore, we can get two such centers from a 27" straight 
cut, which of course is preferable. The cost of such a cut will 
be to figure liberally, 44c, resulting in 22c. for one center- 
piece. This is the cost of material alone. Now we must con- 
sider the design. If we have a stock design which has been 
used a number of times, this cost will be low, but if a special 
design is to be made, it is a good idea to divide the cost of the 
new design on the first dozen at least. With special orders 
the whole cost should be figured. 

The next thing to be figured is the manufacturing expenses. 
This includes the perforated pattern, cutting, stamping and 
eventually embroidering, with all the materials used. 

Then rent, cost of help, advertising, light and other ex- 
penses should be taken into consideration, of which a certain 
part is to be paid by this particular centerpiece. 



28 The Successful Embroidery Shop 

To make it simple, the following form will be of great use: 

27" Brown Linen Center No. 

Material 27" x 27" $0.22 

Design 0.10 

Stamping 0.02 

Embroidery silk 0.25 

Embroidery work 1.25 1.84 

Expenses, 25% 0.45 0.45 

Cost 2.29 



Selling price $3.50 

According to this calculation, the layout of $2.29 would net 
a profit of $1.21, which, of course, is quite a good margin. 

By carefully following out this method of fixing prices the 
shop is insured against loss and many prices, otherwise under- 
estimated, will be eliminated. The positive knowledge of cost 
will be of great value to every shop, where manufacturing is 
done. With simple merchandising, this is not necessary, since 
the bills will give the actual cost. But rent and expenses 
MUST come from the profit. 

GETTING READY TO PRODUCE 

Once an idea is worked out, calculated, found profitable to 
make, the time has come to put it to a test. Make a sample 
of the new object, whatever it be, and place it on the counter, 
or, better still, in the window. 

The grand jury, your buying public, will then judge your 
creation, and according to the decision of this capricious critic, 
you shall get your rewards. 

It is quite natural that those who know the demands of their 
customers will very seldom attempt to bring out an article which 



The Successful Embroidery Shop 29 

does not have a general appeal. Experience will be the best 
teacher in regard to this question, for every city and every 
location in a city has its special tastes. 

Once this new object has been judged by the public as a 
good thing, it will be worth while to make a stock of it. The 
size of this should depend entirely upon the decision of your 
customers. 

Do not expect to get this decision too promptly, for it takes 
time for an idea to get across. Give it a chance. 

This procedure will greatly cut you expenses, and will give 
you the best chance to play safe. The next step is to deal with 
the manufacturing of the article. 

II. MANUFACTURING 

VERY few business houses are in the happy group where all 
their own manufacturing is done. The embroidery shop 
can do its own manufacturing, to a considerable extent, and al- 
most without machinery. 

The routine of manf acturing is divided up as follows : 
Perforating, cutting, stamping, tinting, sewing, trimming 
and decorating. 

We shall consider each performance in their natural order. 

PERFORATING 

Perforating produces the patterns, which are the means of 
stamping designs on cloth. The patterns are, in the way, noth- 
ing but stencils of a very minute sort, where a great number of 
small round holes permit the stamping paste to touch the fabric 
and follow the outline of the design. 

One can perforate freehand, with a slender needle, but it 
is a tedious task and never gives the results of machine 
perforation. 

There are a number of perforating machines on the market, 



30 The Successful Embroidery Shop 

varying in price from $15.00 up to $100.00. Some of these 
are run by foot power, like a sewing machine, others are run 
by electricity. Both have their advantages and disadvantages. 

For small shops, where volume of work is not necessarily an 
item, the machine run by foot power will be the best, because 
there is a perfect control of speed and the beginner is allowed 
to use her own time. 

Perforating is not hard to do, but nevertheless there is a 
great deal of skill necessary to produce first class results. This 
can be acquired only by practice. 

The work is described as follows: 

The design is spread out, if necessary, ironed smooth. The 
size of the pattern is considered, then, according to the demands, 
from two to six sheets of good quality perforating paper are 
placed on the table. 

The design is placed under the top sheet and secured in such 
a way as to preserve the necessary length of the pattern. ( One 
end to be fastened or weighted to the table, the other end to 
be inserted into the guiding stick of the stamping table. See 
stamping.) If the drawing is not as large as the perforating 
paper, it must be lightly pasted to the second sheet. After this, 
the sheets of paper are carefully pinned together. This must 
be done, so that the patterns will lay perfectly flat. 

The design is now in place to be oiled on the top, if it is 
not transparent enough. If it is, then a piece of castle soap is 
rubbed over the entire surface to give smoothness. Now it 
is ready for actual perforating. 

It makes no difference what kind of a machine is used, there 
must be a piece of felt J4" thick on its table to permit the free 
play of the needle. Over this felt the sheets are spread and 
the operator sits down to work. 

The lines of the design must be followed by the needle. 
It is absolutely necessary to produce even lines and preserve the 
same speed, for otherwise the dots will not be the same distance 



The Successful Embroidery Shop 31 

apart and the design, when stamped, will not show uniform 
lines. 

It is impossible to give further advice concerning the study 
of perforating, for the operator can learn only by actual practice. 
Ability to draw, good eyes and a steady hand are the essentials 
to this work. 

For those who intend to buy a machine, it is suggested that 
they buy a good one. $30.00 to $40.00 is not too high a price 
to pay for a machine, for if it is well cared for, it will last a 
life time. 

The patterns when once perforated, become a valuable asset, 
which can be used over and over again if properly cared for. 

CUTTING 

For this, you will need a pair of good scissors and a large 
table of convenient height. The main considerations are to cut 
straight, to cut to advantage and to cut in the right direction. 
For scarfs and lingerie, it is quite important to make the cut 
lengthwise. In certain other materials, a thread must be drawn 
in order that the line be perfectly straight. 

The shops which have special workrooms, will do well to do 
all the cutting in groups, and then proceed to the stamping. 
This bunching of the work saves time, although it will be de- 
viated from once in a while on account of special orders. 

STAMPING 

Stamping means, in the realm of fancy goods, the act of 
marking a suitable design upon a fabric by means of stamping 
powder, paste or liquid. It is one of the most important ac- 
tivities of the embroidery shop. It is a very simple perform- 
ance, yet to do good stamping is quite an art, and those who 
know how, will have one great advantage over those who do 
not. 



32 The Successful Embroidery Shop 

In this chapter every way known to the manufacturers is 
carefully described. Hints and little tricks of the trade are 
given, therefore anyone who wants to learn stamping thoroughly 
can rely upon this information. 

The materials used, and formulas for stamping pastes and 
liquids are related at the proper place. The act of stamping 
according to the modus operandi is divided into: hand stamping, 
machine stamping and stamping with powder. 

Hand stamping is two-fold, in that it may be done with 
liquid or with paste. 

The question of perforated patterns has been settled in the 
foregoing chapters and therefore we do not need to go into 
further details here. We know that stamping cannot be done 
without such patterns and that settles it. 

Provided with the pattern of a 22" centerpiece, the goods 
upon which this particular pattern should be stamped is placed 
upon a table. The surface of this table must be well leveled 
and perfectly smooth, and covered with a felt or some similar 
sort of padding. Padding is quite necessary, for reasons enumer- 
ated later on, when the correct stamping table is described. 

This table must be large enough to hold your goods, for the 
articles when finished and for a space to work. For instance, 
when stamping a 22" center, the table should be 2 yards by 
I yard in size. 

Hand stamping is a painstaking sort of work, for unless you 
are very careful, you will ruin more goods than you wish. 
Therefore, go about it with deliberate accuracy. 

In most cases a mis-stamped, a double stamped or smeared 
piece is a complete loss to the shop. Sometimes such pieces 
might be laundered and re-stamped, but in most cases this will 
be found too expensive a procedure, besides time sometimes plays 
an important part in the matter. Therefore, quite naturally, 
the seemingly long road of accuracy is the one to follow. 

The paraphernalia for hand-stamping is quite simple. A 



The Successful Embroidery Shop 33 

pad or pouncet made of felt is the universally used article. 
It is made by rolling a piece of felt very closely into a round 
pad, and then pinning or stitching it fast. This done, one end 
is cut smooth with a sharp knife and this end is the one that 
is used to distribute the paste or liquid. 

HAND STAMPING 




If liquid is used, this must be in a can handy. If paste, it 
must be in a jar with a good sized palet knife ready to be used 
as a spreader. 

Now, take the piece of goods and spread it out on the table; 
place the perforated pattern over it, secure the pattern with 
weights to make sure that it does not move during the process 
of stamping. 

The pad is now either moistened with the stamping fluid or 
spread with a sufficient quantity of paste. With regular, cir- 
cular movements, slide the pad over the pattern and cover the 
surface to be stamped. Very slight pressure is used. The 
weights will permit us to lift the pattern with the left hand to 
observe the effect, and thus strengthen the parts which are not 
strongly enough stamped on the cloth. 

It is necessary to use great care in stamping, for although 
the paper pattern might be perfectly pinned to the spot by the 
weight, a light fabric or a highly glazed fabric slides easily. 
Even the slightest move of the goods or pattern might cause the 
spoiling of the work and material. 

Keep in mind the cost of the cloth on which you are work- 



34 



The Successful Embroidery Shop 



ing, for then you can see vividly, in cash, just what you will 
lose, if the article is spoiled. 

STAMPING TABLE 




S G— Stamped Goods. P— Paper. W— Weight. P P— Perforated Pattern. 
C— Cloth. F— Felt G— Glass. 

The whole perforated surface covered with the paste or 
liquid, and having ascertained that all is well, put aside the 
pouncet. It is a good idea to have a small tray or plate for 



The Successful Embroidery Shop 35 

this instrument, thereby insuring yourself against spattering 
the paste about the table. 

Repeat this process until you have as many of the articles 
as you wish. 

If a good paste or liquid is used, the articles might be piled 
on top of each other or folded up at once, without danger of 
running. One exception must be made to this, and that is the 
case where black oil paste is used; this dries very slowly. In 
this case, it is best to let the stamping dry flat, each piece sep- 
arately, or with a sheet of tissue paper between. 

Hand stamping is really the best method for small quantities, 
also for stamping to order. 

Every shop should have a table reserved for this purpose. 

The stamping we have just described is regular stamping. 
By this we mean that sort of stamping which does not involve 
special planning of parts of designs, etc. 

Very often the shop has to make up a design from combined 
patterns selected from the stock patterns, to the order of a 
customer. Here is where good taste, judgment and, above all, 
the folding method of the designer will come in as a very handy 
helper. 

Since the shop-keeper must know how to place the design, 
there is no need to go into details. The general rules are 
satisfactory. 

The first consideration is to have the design well balanced. 
By carefully folding and measuring, the balance of the repeated 
sections is assured. Where irregular spaces are to be used, use 
your best faculties to place the design in the right place. 

In very particular cases, especially where expensive materials 
are to be stamped, it is worth while to make a general plan on 
manila paper. You can shift and change on the paper until 
you have located the proper places for your design details. 
When you have it right, cut out in a general way the spaces 



36 The Successful Embroidery Shop 

where the design shall go and then place this on your material. 
The paper will guide you and will assure cleanliness. 

The stamping of initials, monograms and wreaths for such 
is not at all difficult. Generally, you merely hold the pattern 
in its proper place with your left hand while your right rubs 
the paste over the design. 

The finding of the right space in this case of stamping is 
handled under the chapter of Designing, therefore if doubts 
arise it will be worth while to look up and read over the chapter 
dealing with the folding method, balancing, division, etc. 

As far as the preference in regard to paste or liquid goes, 
it is really not important, and more or less depends on the 
personal like or dislike. 

At any rate, if you find one method more satisfactory than 
the other, use it. 

In general, the stamping just described is perfectly satis- 
factory for the small shop, when time does not come into 
consideration. But where quantities are handled, a decided 
preference must be given to the process termed machine stamping. 

Machine stamping. Seriously speaking, this is just a name, 
for the stamping is really done by the hand, but with an alto- 
gether different sort of pouncet. The so-called machine con- 
sists of a large, substantial table well leveled, preferably one 
described on another page and an arrangement of pulleys, a line 
with weights and a stick so arranged as to hold the pattern 
securely at one end. The other end is weighted down or 
clamped securely to the table. See illustration on page 34 
for clearer understanding. Naturally, the weight will pull 
up the working end of the pattern automatically, as soon 
as the operator releases it. 

Concerning patterns: it is desirable that these patterns be 
made of very good, strong, bond paper, arranged so that there 
is plenty of margin left to fasten the paper at one end to the 
table, and at the other end to the stick. 



The Successful Embroidery Shop 



37 



Liquid stamping is out of the question here. A good, 
easily working paste is the only thing to use. As soon as the 
pattern is weighted at the opposite end, the stick is fastened to 
the near end. The string is then fastened to the ring on the 
stick, which now suspends the pattern as shown on diagram. 
The preparation of the pattern is decribed under the chapter of 
patterns, therefore we assume that this pattern is all ready for 
use. 

DOUBLE STAMPING 




The next thing is to place the material properly under the 
pattern. The easiest way to do this is to take your stamping 
paste (which should be kept in a suitable jar, and covered 
whenever not in use) and carefully smear the smooth end of the 
pouncet, using a large palet knife for the purpose. 

Some operators prefer putting the paste directly on the 
pattern; this will give as good results, with the exception that 



38 The Successful Embroidery Shop 

it will take more paste and time to distribute the substance 
over the whole stamping surface. Therefore, the method first 
mentioned is the most preferable. 

Always remember to paste a clean sheet of paper securely to 
the stamping table, and change it from time to time, as it gets 
grimy. 

To proceed with the stamping: take the middle of the stick 
firmly in the left hand and pull it down so that the pattern is 
neatly stretched on the table. Go over this surface with one 
stroke of your pouncet. It is advisable to rest your left thumb 
against the edge of the table, while the rest of your fingers hold 
the stick down firmly. The right hand does the stamping. 

Provided that your paste is good, that your pattern was well 
perforated, and your pouncet is in a first class condition, this 
one stroke should give you a perfect stamping. Let your 
pouncet rest against your weight and release the pattern. You 
can now examine your stamping and if it is not perfect, see that 
you find the cause of the imperfection before attempting to stamp 
on the material direct. 

This stamping on the paper first serves as a guide. By 
ascertaining the exact size of your goods, you can easily find the 
correct placing. Draw a straight line on at least two ends to 
guide you, and place the edge of your goods exactly on these 
lines. Then, using great care in pulling down your pattern, 
and even strokes in applying the paste, you cannot fail to get 
first class stamped articles. 

It is plain that this is a rather speedy performance, and 
though putting the pattern up and getting ready to stamp takes 
some time, once fixed in place, a good operator can easily turn 
out a great deal of work. By careful work, ten to twelve 
dozen an hour is not too much. 

The very method of the work shows that it will pay only 
when quantities are done, let us say, not less than half a dozen 
pieces at a time. But, since the results of this kind of stamping 



The Successful Embroidery Shop 39 

are always so much clearer, and superior to the so-called hand- 
stamping, where quality is desired, we would always recom- 
mend it. 

A stamper should always strive for cleanliness, accuracy, 
correct placing of the design, and sober work in general. If 
a mistake happens, which will creap in once in a while with even 
the most careful attention to details, it should be noticed at 
once, and corrected in time. This mistake might be mis-placing 
of goods, doubling of lines, etc. 

With the use of the right sort of stamping paste, if the 
worst comes to the worst, laundering will save a piece of cloth 
otherwise useless. In less serious cases, partial washing and 
ironing might correct the fault. Then, again, many times a 
little patching with the blue pencil will help straighten things 
out. 

When stamped goods are to be put on the shelf, they should 
be protected against dust. It is advisable to keep the show 
pieces under glass covering. A stamped piece is much more 
sensitive than an embroidered and finished article, therefore 
protection should be extended to them. 

If a shop can stamp things fresh to order, a cheaper stamp- 
ing paste could be used, but if stock is made, which might be 
slow in leaving the shelf, it should be understood that the best 
stamping paste in the market is the cheapest investment in the 
long run. 

The third and least used method of stamping is the so-called 
dry stamping, or the stamping with powder. This process, no 
longer popular, gives fairly satisfactory results if rightly handled. 
It is, however, slow, and for that reason has been practically 
discarded for the quicker methods. 

The powder used is a mixture of cobalt blue, some wax 
and rosin. Equal proportions. 

The actual execution of the stamping is, in a way, similar 
to hand stamping, at least as far as preparations go. Once the 



40 The Successful Embroidery Shop 

pattern is ready, however, ft must be placed face downward on 
the material. That is to say, put the raw side of the perfor- 
ation up. 

Weights are used to keep the pattern and material in place, 
then the stamping powder is gently poured over the perforated 
parts, taking care to reach every perforation. The wing of 
a goose, or a wide brush of feathers might prove an effective 
tool in distributing the powder, and spreading it out equally. 

After this is done, the weights, then the pattern are carefully 
removed from the cloth, the superfluous powder is gathered up 
and replaced in its receptacle and the hot iron made ready. A 
piece of muslin is placed over the stamped article, carefully, so 
as to not jar the powdered lines, and the rather hot iron is used 
to fix the paste by melting it into the cloth. 

The result, as far as stamping is concerned, is far superior 
to the other methods, for it is clean, does not rub over the 
goods and the lines wash out very readily. But its tediousness 
prohibits its popularity. 

Finally, there is a new method called the VON Method. 
This is not done by stamping, but it gives similar results, with 
the advantage that it can be done without paper patterns, per- 
forating or designing. This method has been patented and is 
taught by mail by the VON Studio, 6032 Washington ave., 
Philadelphia. It is particularly adapted to exclusive work, such 
as layettes, lingerie, etc., which is to be made to order. 

As far as a money making proposition is concerned, this 
last method of marking original designs for one customer only, 
is far superior to the other methods. 

Whatever method is used, however, its aim shall be perfect, 
clear work. It is in the shop keeper's interest to do the very 
best that can be done. 



The Successful Embroidery Shop 41 

DOUBLE STAMPING 

Sometimes, when the stamping is used as a foundation, we 
want to gain effects of a permanent kind and in this case, the 
double stamping in black and white is resorted to. It is a 
simple, registering method by which a picture is produced, rep- 
resenting the high lights and the shadows and contours. 

As a foundation for tinting, this method is very commend- 
able, for very artistic results can be obtained. 

To do this stamping, a simple equipment must be provided 
to permit the pattern in the right hand to work as the regular 
pattern. The weights must be much heavier than in ordinary 




~r~ — 



stamping, since it carries the patterns straight up from the table. 
Otherwise the patterns will not allow complete freedom of 
movement. 

Before beginning to stamp, these two different patterns must 
be set up, one after the other. This can be done either by use 
of certain marks which were arranged by the designer to be 
used as guides in registering the pattern, or by simply fitting it 
in at the discretion of the operator. 

First of all, the patterns are thoroughly oiled, then the block 
pattern is located in front and weighted. The stamping paste 
is applied and then it is reproduced on the clean sheet of paper 
which must always be in place waiting for the work. If in 
black, it would be advisable to rub off the stamping with a rag, 



42 The Successful Embroidery Shop 

for it will surely smear the high-light pattern. After it is 
rubbed off, there will show a perfectly clear mark on the paper, 
for the oil has soaked into it, with enough color particles to 
mark the lines sharply. 

When this is done, place the high-light pattern over the 
stamping and use great care in placing the design over the 
stamped one, and locate the exact place. The oiled pattern is 
very transparent and will permit the seeing of every detail of 
the drawing underneath. There will be no difficulty at all in 
placing the second pattern so that it registers exactly. 

Use care here, for there is every chance in the world to move 
the pattern without ever noticing it. To avoid this, weight 
your pattern as soon as you have it registered. Put this weight 
(a number of them should always be handy on the stamping 
table) right in the center of the pattern, then look to see if all 
is well. If you find a fault, lift the weight and make the move, 
then replace the weight. When the registering is correct, it is 
time to carefully weight the end of the pattern which will rest 
on the table. All this can be done much easier than it sounds 
to tell it, but it is a delicate work and it must be absolutely and 
positively correct or it will ruin your goods instead of turn 
out marketable products. Be painstaking to the utmost, for it 
will pay. 

The registering assured, the pattern weighted, white stamp- 
ing paste is put on the pouncet and applied to the pattern. In- 
spect the work and if everything is in order, you are ready to 
go ahead with the stamping. 

In double stamping, as well as in triple and multi-color 
stamping, it is advisable to stamp a stock, for the preparation 
takes time. Of course, if you do not want to stamp up a num- 
ber, if you feel that you could not sell more than one-fourth dozen 
or so in six months, then by all means do not make up a stock. 
The individual case must always be considered, therefore rules 



The Successful Embroidery Shop 43 

are only good in general, as far as suggestions in regard to 
stamping quantities are concerned. 

Above all, the most profitable way should be the best way. 

The double stamped goods naturally use up a great deal of 
stamping paste and they will take more time to dry. Allow 
forty-eight hours for safety's sake, before attempting to tint the 
goods. 

Tissue paper should be placed between each article, to do 
away with all danger of marking the back of the next piece. 

TRIPLE AND MULTI-COLOR STAMPING 

The triple or three color stamping has no relation whatever 
with the three color printing process. Although experiments 
have been made to produce the effect of the three color printing, 
these experiments have always been unsuccessful. That is to 
say, the making of patterns is involved, with so much detail, 
that the patterns, first of all, do not stand the wear and tear, 
and, second, the stamping process will become messy when so 
many heavy layers of paste are pressed through the holes in the 
pattern. 

For these reasons, the idea of the three-color process in 
stamping did not succeed. The next best thing is the three 
color stamping carried out exactly like the double-stamping, 
with an additional pattern rigged up from the left. The work- 
ing is carried on exactly the same as in double stamping. 

For the retail shop, three color stamping is quite unimportant. 
Only for houses of considerable size and mainly those who do 
mail order business, would it be a profitable undertaking to 
establish a machine, with a range of two to five or six colors. 

There are only two different color stamping machines on the 
market. Both are inventions of the author of this book. The 
patent rights are held by T. Buettner & Company of Chicago, 
for the United States, and rights to manufacture these types of 
machines might be obtained from that concern. 



44 The Successful Embroidery Shop 

Henry Weil, of 928 Broadway, New York, is well known 
for his process color work. 

The principal idea of these machines is based upon a mech- 
anism which enables the stamper to make his patterns register 
perfectly, thus filling in one color after another. It gives 
wonderful effects in cross stitch, lazy dazy and French Knot 
patterns. Undoubtedly, a large shop could use one of these 
machines very profitably, for, when not in use in multi-color 
stamping, it could be utilized as a common stamping table. 

To get the best results from color-stamping, the shop keeper 
has to snatch at opportunity, for there are off seasons in this, but 
when this method is in vogue for a season, and the right steps 
are taken, that one season alone might repay the shop for in- 
vesting in a plain color stamping table. 

In general practice color stamping above three colors is not 
recommended. 

PRESERVING AND HANDLING PERFORATED 
PATTERNS 

In a shop where dozens and dozens of new patterns are 
added to the stock of perforated patterns in a year, it is often 
quite a problem to keep and preserve these patterns. 

The size of patterns is generally so variable that it will be 
a difficult matter to arrange a flat receptacle for them without 
taking up too much room. Also, on account of the varying 
sizes, it will be hard to find patterns quickly, therefore a way 
must be devised whereby these requirements can be adjusted 
satisfactorily. 

Where room does not play a part of importance, a pigeon 
hole arrangement with numbered holes to receive patterns in 
rolled form, might be the best way to store patterns, but where 
space is valuable, the question will have to be solved differently. 

Rolling a pattern does not hurt it, if care is taken to sep- 



The Successful Embroidery Shop 



45 



arate them before rolling. By separating them, I mean to take 
apart the patterns that have just come from the perforating 
table. For, if they are left punched together, just as they come 
from the machine, they stick together and get torn very easily. 

Now, then, these patterns can be rolled and put in a tube 
of cardboard, if anyone prefers, and the tubes may be kept in 
numbered order. This is not a bad way to keep patterns, but 
the most convenient way is, in the author's estimation, to use 
40" sticks and roll the patterns neatly on these, then hold in 
place with rubber bands. If you find that the patterns keep 
slipping from the stick, it is a good practice to paste a piece of 
cheap cloth to the stick (see page 41 ) then roll the pattern in 
such a way that this cloth is rolled up with the pattern. It 
will be found that this arrangement holds the hand pouncet 
patterns in place perfectly, and the rolled 
patterns can then be placed on end, rather 
than horizontally, thus gaining space and help- 
ing preserve the patterns. 

A horizontal rack, where there is plenty 
of room, and a vertical, where space is to be 
economized, will be found helpful. 

The location of patterns readily is very 
important, therefore each pattern should bear a number, a special 
sign or name. Numbers are preferable, especially in a shop 
where a great many patterns are filed. The numbers can be 
attached to the sticks by labels or tags, then entered in numerical 
order in a book, or on a card plan of the rack to make finding 
easy. 





46 The Successful Embroidery Shop 

STAMPING PASTES AND LIQUIDS 

The stamping pastes which are in common use consist of 
three main ingredients. The color, or paint, that produces the 
mark on the cloth, the vehicle which carries this color and the 
chemical which sets this color and prevents its rubbing off or 
running or otherwise marring the material. 

A good stamping paste should, above all, not rub after 
stamping, nor injure the cloth in any way, and wash out readily. 

Not long ago, there was a certain secrecy exercised among 
fancy goods manufacturers to preserve the formula of good 
stamping pastes, but since none of them were patented com- 
positions, and are sold wholesale as well as retail, it is easy 
to ascertain the ingredients by analysis. 

The colors for the regular and most popular blue stamping 
are Cobalt blue, Prussian blue and Ultramarine blue. For 
black stamping, Lamp black or Ivory black is used. These 
colors can be used in fine powder form. The test is to take a 
pinch between your thumb and ringer and rub it together. If 
it feels soft and velvety, sliding easily, the color is well ground 
and suitable for stamping purposes. If there are lumps or 
larger grains in it, it is useless to attempt to use it. It will 
not only not stamp well, but will ruin your pattern and often 
the article stamped. 

Therefore, do not accept colors without thoroughly testing 
the same. 

The colors already made up and set in oils can be used for 
making stamping pastes also, but they cost more, without having 
any particular advantages over powdered colors. In some cases 
they do not wash out as well as the above mentioned dry colors. 

Stamping liquids are made with good quality lamp black, 
Prussian blue or any strong color, set in boiled linseed oil. 

The stamping powders are well ground powder colors, blue 
preferable. 



The Successful Embroidery Shop 47 

The ingredient which serves as a vehicle is a very important 
part of the paste. The reason for this is obvious. The patterns 
are made of a light, yet strong bond paper. The holes in these 
patterns are small and easily clogged. Therefore, this vehicle 
must have properties which, first of all, are harmless to the 
pattern and second, eliminate the clogging altogether. 

Only fat substances, of any origin whatever, have this 
quality. Fat will not shrink the paper, nor will it hurt it in 
any way. Fat goes through the small holes easily and will not 
clog them. 

Almost any shop has its favorite mixture, but in these 
mixtures lard, tallow, lenum or lenolin, oils or vaseline, even 
axel grease, form the important carrying vehicle. 

The ingredients to make these compositions into stamping 
pastes are often mixed from two or more fats, but the setting 
element is always of acid quality. 

The compositions which do not need a chemical to set them 
are preferable. 

The vehicle of the stamping liquids are benzine or gasoline. 
A liquid that dissolves the color and evaporates quickly. 

Beside the above ingredients, in certain cases, dryers are 
also necessary. 

The process of mixing is very simple. Most of them need 
the warming up of the vehicle. In the following formulas, the 
way of mixing is always mentioned. 

Cheap blue stamping paste. 

Dissolve over fire one pound of good lard till it is at boiling 
point. Take it from fire and add slowly, mixing with a palet 
knife, ij^ lb. dry cobalt blue. Let stand for fifteen minutes, 
then test smoothness with fingers. If found satisfactory, drop 
six drops muriatic acid in it and mix thoroughly. 

In the summer, add J^ lb. more dry color. In the winter, 
warm paste slightly before use, kneading thoroughly with palet 
knife. 



48 The Successful Embroidery Shop 

This paste is fairly satisfactory, but it will fade if exposed 
to dust and air. The life-time of a stamped article is about 
three months, if this paste is used. It washes out easily and 
entirely in cold water with Ivory soap. Boiling, even hot water, 
will set it fast. 

If the acid was not thoroughly mixed with the paste, it will, 
after a time, cause grease spots on material. 

Its advantages are: easy stamping, easy to manufacture, 
preserves the patterns and does not clog the perforations, and 
can be easily procured. 

A very good paste.- 

Dry color, I ]/ 2 lbs. 
Lenoline or Lenum, i lb. 

Warm lenoline into liquid, mix color thoroughly, add y 2 lb. 
boiled linseed oil, test quality. If too light, add color till sat- 
isfactory. 

This paste will cost more than the first one, but it gives 
much clearer and more satisfactory results all around. 

Lenum can be bought from druggists and also from paint 
houses. 

A suitable paste for retailing. 
Rosin oil, % lb. 
Raw vaseline, y 2 lb. 
Prussian blue, J4 lb. 
Zink white or Khremnitz white, J^ lb. 

Mix raw vaseline and rosin oil thoroughly, then add the 
other ingredients and mix until a light blue and pleasant look- 
ing paste is formed. Add two drops of muriatic acid for each 
pound, mix well again. In cold weather the mixture should 
be warmed in order to facilitate working. If it remains too 
pasty, a small quantity of kerosene oil will quickly soften it. 



The Successful Embroidery Shop 49 

Put in small jars or metal boxes. This is a good, inex- 
pensive paste to retail. 

Black stamping paste. 

Used on brown linens and all colored materials which can 
be marked well with black. 

Lamp or drop black, I lb. 

Zink white (Green Seal preferable), J4 lb. 

Boiled linseed oil — added till a smooth easily worked paste 

is obtained. 
Japan or Meglip. In proportion to drying qualities pre- 
ferred. Do not be lavish with dryers. They are ex- 
pensive, since they devour the paint. If the paint is full 
of dry, leathery particles it can be used for stamping. 
This paste must be kept covered when not in use. Never 
apply this paste to white goods. It is not washable after it 
dries. 

White stamping paste. 

For dark goods. 

Green Seal Zink white, y 2 lb. 

Khremnitz or snow flake white in oil. 

Boiled linseed oil, J4 lb. 

Mix thoroughly, if not pasty enough, add white Zink 
powder and knead well together. Before using, thin it out 
with turpentine, which also acts as drier. It is non-washable. 

Stamping liquid. 

Disssolve fine quality lamp black in gasoline, till it has good 
inky quality. It must run freely, however. 

This liquid should be bottled and kept well corked when not 
in use. Before using, it must be thoroughly shaken and if it 
gets too thick, additional gasoline must be used to thin. 

Use only with felt pouncet. It is not easily washed from 



50 The Successful Embroidery Shop 

the goods, it dries almost immediately. Care must be taken 
against explosion or ignition of gasoline fumes. 

Colored liquids. 

The next preceding formula can be used when washability 
is unimportant, and any color will give satisfactory results. 

But liquid colors which may be washed must be made of 
dry colors. Mix powdered gum arabic in gasoline or benzine; 
add some liquid green soap to give a body, then very slowly mix 
in the dry color until the mixture becomes the shade desired. 
A drop of ox gall will give it permanency. 

This mixture will easily wash out of any material. 

Dry stamping powder. 

This consists of finely powdered rosin, wax and the regular 
powdered dry color. Blue, above all, cobalt blue is good. 
Some people prefer bluing, which, of course, is but another form 
of cobalt. 

The mixture should be of the following proportions: 
I part rosin, 
i part cobalt blue, dry. 
J4 part powdered wax. 
This should be very thoroughly mixed, a rolling mixer is 
preferable. This powder washes out in warm water and some 
alkali soap. 

The asphalt powder. 

This can be used as it is, or mixed with blue. It gives very 
good results, but is hard to wash out. 

The oil paints as stamping pastes. 

These can be used in color work where washing out is not 
demanded. They give very good results if well mixed with 
linseed oil and Japan to a consistency which permits easy 
stamping. 



The Successful Embroidery Shop 51 

However, if this liquid is left alone for a short time it will 
clog the pattern. 

The use of kerosene oil. 

This oil is one of the most useful ingredients for the stamper, 
if it is used in the right place and, above all, used discretely. 

Kerosene oil has the excellent quality of preserving the 
patterns and is a medium to clean them. The cleansing process 
is very similar to washing, therefore many people term it 
" washing the pattern." This washing should be carefully 
done, the pattern laid flat on a padded table. A sponge or rag 
is lightly saturated with the oil and rubbed over the pattern, 
then another clean rag is used to dry the pattern. 

The pattern is turned and the same performance is carried 
out on the other side. 

Before attempting to wash a pattern, all the paste must be 
fully cleaned off with a palet knife. 

This oiling should be applied to new patterns, for the kero- 
sene keeps the perforations open, makes the paper more pliable 
and less exposed to tearing by small particles in the paste. 

Any paste sometimes clogs the patterns and in such cases a 
light going over on the inside of the pattern with kerosene oil 
will generally open it up again. Before stamping, the surface 
must be dried from all oil by gently rubbing it with a dry 
cotton rag. 

The misuse of Kerosene oil is very harmful to the business. 
It causes fat spots to appear on the goods which, if exposed to 
dust, become very dirty. This fat can be washed out, of course, 
but it does not do the unfinished article any good. 

The fact that a few drops of kerosene oil will make most 
any stamping paste more easily worked is very tempting, but 
the consequences must always be remembered, and the oil never 
used in this way. 

It is one of those things in the stamping which, used rightly, 
is a blessing, but misused, very harmful. 



52 The Successful Embroidery Shop 

TINTING 

The process of tinting is better known under the name of 
stenciling, and from time to time it becomes the chief implement 
of home decorators, only to subside again into the dusk of a 
slowly moving amusement. 

Tinting differs from stenciling, however, in the fact that 
tinting places tones of color in spaces which are already stamped 
and outlined, while the stenciling is done freely. Stenciling 
is considered a finished product, but the tinting is not finished 
until embroidery is applied to it. In many cases tinting serves 
as a color guide for the embroideress and is covered up in the 
finished article. Then, again, it is employed half and half. 
Working outline and stitches into the tinted surfaces. Some- 
times it serves as a background to accentuate the beauty of 
lighter, brilliant shades. 

Tinting, as is the rest of fancy goods, is greatly influenced 
by fads and fashions, but it is a staple performance, neverthe- 
less; it varies merely in popularity. The demand for a limited 
number of stenciled or to be more exact, tinted goods, is always 
present. 

Tinting is done on a level table with the help of a rather 
large size stencil brush. The larger the brush, the quicker the 
work. The necessary colors are spread out on palets, or card 
boards, according to the ways and the implements of the shop. 
A can with automatic stopper for turpentine is one of the 
necessary tools of the tinter. 

Turpentine is used to thin out the colors, to give an easy 
and smooth appearance to the work. It also serves as a drier. 
The over use of turpentine is often disastrous and cause trouble- 
some spots and runs of the color around the outside of the 
stamping outline. 

The stencils are placed over the stamped design till the 
correct fit is found, then the left hand holds the stencil firmly 
in place while the right, with rapid circular movements, fills in 



The Successful Embroidery Shop 53 

the open surfaces with the color selected for that particular spot. 

The number of colors generally dictates the number of 
stencils. Sometimes two or even three colors might go on one 
stencil, but whenever it can be done, it is advisable to have a 
stencil for each color. 

A clever tinter can do quite a number of effect-producing 
stunts; shading and working one color into another permits a 
great deal of change and if these effects are cleverly used, tinting 
will become a fine addition to any line of artistic goods. 

The colors used can be of the best quality or bought in a 
paint store as house paints, both will serve satisfactorily. It is 
not the price of the paints that counts in the case, it is the 
application. But, from an economical standpoint, it will be 
good to consider the following: 

A shop which does a great deal of tinting should buy its 
paints in cans, thus saving not only in the price, but in the op- 
portunity to preserve every particle of the paint till it is used. 

A shop where little tinting is done is much better off by 
buying the cheaper sort of artist's colors in tubes. In some 
colors, pound tubes can be had and naturally these are preferable. 

The best colors for the tinter's use are few, and a selection 
is given below: 

Reds. Vermilion, Permanent red, Rose Madder, Carmine, 
Geranium Lake. 

Yellows. Chrome yellow, Neaple yellow, Yellow Ochre, 
Gamboge. 

Blues. New blue, Prussian blue, Cobalt blue, Ultramarine 
blue. 

Browns. Burnt Sienna, Sepia, Flesh Ochre, Van Dyke 
brown. 

Greens. Chrome greens, Emerald green. 

Purples. Mauve. 

Black. Lamp black or Ivory black. 

White. Snow flake white. 



54 The Successful Embroidery Shop 

About a third of this list can be dispensed with if the tinter 
is familiar with mixing colors. The use of the colors just as 
they are has a great many advantages, for it will insure perfect 
reproduction of the colors. Of course, where finer effects are 
desired, the mixing cannot be avoided. 

All in all, tinting is an easy process, it can be learned very 
rapidly and once acquired, the necessary speed will follow. 

THE STENCILS 

The stencils are the guides which automatically reproduce 
the tints if well handled. They are made of all grades of 
boards, the best are the specially prepared stencil boards, suf- 
ficiently oiled and finished to give long service. 

A good board 24" x 30" can be had for five cents, which is 
a good size for almost any job of tinting. If larger pieces are 
to be tinted, the boards are either glued together or the tinting 
is done in sections. The latter way is the easier. If boards 
should be glued together, rub the surfaces where the glue will 
come, with emery paper in order that the glue will take a firm 
hold. 

The design is stamped on the stencil boards, making as 
many prints as stencils are needed. The boards are then laid 
aside to dry; if they are used at once, the colors will rub off. 
Then the spaces which are to be cut out on each board are 
marked with a pencil. The next thing is to do the cutting. 

There are two ways to cut stencils: with the knife or with 
the perforating machine. Knife cutting gives better results, for 
it finishes the edges perfectly smooth, but it is a slow and pains- 
taking work. The cutting with a shoemaker's curved knife is 
an improvement, but the cutting with the perforating machine 
is undoubtedly the quickest method. 

Use a No. 8 needle in the perforating machine and run it 
fast, yet move the needle slowly over the lines of the design and 
you will make a rather clear cut. In a way, the edge naturally 



The Successful Embroidery Shop 55 

shows the marks of the needle, but this is not important, for the 
work does not demand absolutely even edges. 

It will be found best and most economical to cut stencils 
with the machine. 

After every use, the stencils should be thoroughly cleansed 
and laid flat in a box of some sort and kept away from dust 
and dirt. The rolling of stencils is discouraged for it ruins 
them rapidly. 

THE HANDLING OF STAMPED AND TINTED 
GOODS 

Any shop of considerable size will find it necessary to carry 
a stock of stamped and tinted goods. The size of this stock 
will, of course, be determined by the directing head and the 
existing demand of the customers. Even small shops should 
have at least a limited stock. 

There are two main considerations in regard to this stock: 
first of all, the handling of freshly manufactured goods and 
second the handling of seasoned goods. The greatest care 
should be exercised with fresh goods, so that rubbing and grease 
spots, etc., shall not mar the clean cut appearance of the mer- 
chandise. Any defect, even though it is on a spot which will 
be removed after the article is embroidered will give a decided 
second-hand appearance to any piece. 

By use of the best stamping paste, the shop insures itself 
against quite a few troublesome occurrences. 

When tinted articles are folded immediately after the work 
is done, care should be taken to place a piece of tissue paper 
between the folded surfaces. 

When a consignment of ready-stamped or tinted goods ar- 
rives, a rigid inspection should take place before the articles are 
placed in the stock for sale. If unsatisfactory pieces are found, 
they should be returned for exchange or credit. 

Since the shop does not know what sort of stamping paste 



56 The Successful Embroidery Shop 

was used by the manufacturer, the goods should be put out of 
the way of dust as much as possible. Dust and exposure work 
a havoc among the stamped goods, and often perfectly good 
stuff must be sold at a sacrifice because proper precautions were 
not taken to protect them. They get yellow around the stamp- 
ing, or the poorly set fat substances of the stamping paste begin 
to penetrate the fibre of the goods. 

Boxes or covered shelves must be provided for this purpose. 

THE SHOP 

The most ideal layout for a small embroidery shop is the 
combination of a store and a work shop. This can often be 
arranged by the erection of a partition, but where it cannot be 
done, the manufacturing end of the shop will find itself very 
much hindered. Therefore, it should be the aim of every 
beginner to strive for a location with separate rooms. 

The reason for this is obvious : a store should always be neat 
and, above all, a store where art needlework products are sold. 
A work shop cannot remain tidy, for the work quite naturally 
does not permit an absolutely neat table. 

The store, where the sales are made, where the customers 
come and go, must have, above every other consideration, one 
main advantage. It must be attractive and have an appeal for 
women customers. 

The location, whenever possible, should be in the very best 
neighborhood. The exterior and the show window must ad- 
vertise the store itself, besides advertising certain merchandise. 

It is very hard to express the real sentiment behind the above 
sentence; probably it will appear clearer if we say that the gen- 
eral expression of a store exterior should be so attractive that it 
fairly invites discriminative customers to enter. More, it should 
almost force them to enter, it should arouse their curiosity or 
their longing to obtain one of the pieces of art needlework. 
Of course these are idealistic suggestions, but it is only with the 



The Successful Embroidery Shop 57 

highest aim that we can reach the goal of a half-success, there- 
fore we must aim high. 

The show window or windows are the best local advertisers. 
But the shop keeper who thinks that by simply putting a sample 
of everything she has in the window in a haphazard way to 
attract customers thinks wrongly. Such a chaotic window 
gives a pain to every artistic mind. 

To use a window successfully, it must be used with dis- 
cretion, and plans made far ahead. Change the arrangement 
as often as your plan calls for a change, and always use the 
articles which are hard to sell, as well as the attractive things. 

By clever arrangements, you can easily accentuate the things 
you want to push, but be careful not to antagonize your pro- 
spective customer with what one does not want. Above all, 
use the very best models of embroidery and as much as possible, 
give to these a homey touch that would induce the customer to 
buy one for her own home. 

Study modern homes, their needs, the style of the new homes 
which are being refurnished. 

Simplicity and often changes are decidedly perferable to 
elaborate window dressing, and will be found more profitable 
in the end. 

A clever shop keeper will be able to produce her own well 
fitting backgrounds for the window. For the holidays, it is 
worth while to be lavish in this sort of expenditure. 

The interior of the shop should be an increased exhibition 
of as many pretty things as the shop has to sell. The more 
glass cases the store has, the better it is. But do not expose 
too much to direct handling and inspection. 

It would be a good thing to have a corner fixed up from 
time to time to show certain phases of home application of your 
goods. For instance a breakfast table with a neat stola set, 
doilies, napkins and china to match. Or a cozy corner made up 
with pillows, scarfs and centers. 



58 The Successful Embroidery Shop 

In novelties, real new things demonstrating application will 
always attract attention. In some cases the public must be 
educated to the use of articles, Be free with good advice, but 
be careful not to hand out false wisdom. 

Aside from glass cases, the shop needs room for the forward 
stock; this must always be ready for customers. Where piece 
goods are handled, it is better to have a sample book of the 
same and to keep the goods in the work room and do the cutting 
there, never forgetting, however, to re-measure before the 
customer. 

Embroidery threads are best displayed in special glass cases 
with small sections for each shade. These can be easily obtained 
by making your purchases at a reputable firm in large quantities, 
for then the case is furnished free. 

If space permits, have comfortable chairs for your customers ; 
they do not forget if you treat them with modest politeness, and 
if you concern yourself with their comfort while in your store. 

With consideration for your own locality, the very best re- 
sults can be obtained by following these suggestions. 

While in the store the strictest neatness must be exercised, 
practicability should govern everything in the work room itself. 
Use ingenuity and good judgment in getting the most from the 
space at your command. 

All fixtures must be plain and serviceable. 

In a small establishment, where hand stamping only is done, 
the stamping table has no special mechanisms, and only a good 
padding is necessary for satisfactory service. 

When stamping and tinting is done, watch your paste and 
colors to see that nothing is smeared. 

An electric iron will be found very useful, but where this is 
impossible, use gas or a kerosene iron. Do not leave the hot 
iron on your ironing board when a customer comes into the shop, 
but put it on a metal stand or turn it off. 

A sewing machine with attachments to do different work is 



The Successful Embroidery Shop 59 

a necessity, also a perforating machine would be a good invest- 
ment. 

In larger shops, electric motors can be used to good advantage, 
also overlock machines, hemstitching machines, the Comely em- 
broidery machine, as well as a number of other late inventions. 

The embroideress can sit either in the store or in the shop. 
A set or two of good embroidery frames, besides hoops and other 
accessories should be at her disposal. 

Good light for this work is a very important factor, and it 
should be considered in time. 

THE SHOP AND ITS FIXTURES 

Speaking of shop, the idea of a store with a workroom comes 
quite naturally to our minds. All in all, this is an ideal estab- 
lishment under certain circumstances, it stands for positive in- 
dependence, which is quite an important factor. 

We understand the detail work done in the shop, and later 
on we shall go into the particulars about the store, but here is 
the place for taking up the question of fixtures. 

In proportion to the size of the shop, these fixtures will 
consist of the various implements and furniture which the work 
demands. For a good example, we shall select a medium sized 
establishment doing a general business in fancy goods. From 
this example, it will be easy to make the application to one's 
needs. 

The embroidery shop has the store and the work room. 
The store should be in proportion to the latter. The fixtures 
of the store depend a great deal on the locality, but no differ- 
ence what opportunities this locality offers, the following fixtures 
are essential. 

Shelves to hold piece goods, stamped and ready made goods. 

Drawers for laces, edgings, accessories of every sort. 

Counters with glass to exhibit and store embroidered pieces 
and models. 



60 The Successful Embroidery Shop 

Cabinets for embroidery silks and cottons. 

If practicable, sample racks. 

The shop must have a comfortable table with good light 
to do designing and eventually also perforating. A strong, well 
padded stamping and tinting table, which will — perhaps — also 
serve as a cutting table. 

A pattern and stencil rack, a stand for stamping pastes, 
colors and other ingredients. Shelves to keep cutting goods and 
other stock. 

An electric iron or its equivalent. Weights for cutting and 
stamping purposes. 

Water heaters and, if practicable, running water facilities. 

There are a number of other fixtures and machines which 
can be added to these, but they are not absolutely necessary 
right at the beginning. They can be added as occasion demands. 
These are : sewing machines and special machines such as Bannaz 
machine, scallop and embroidery machines. The perforating 
machine is a mighty valuable asset. 

EMBROIDERY AND MODELS 

The artistic expression of the designer for art needlework is 
finished by the stitches of the embroideress. It is out of place 
here to treat this, one of the oldest arts, from the artist's stand- 
point. It is understood that anyone who engages in the needle- 
work business should have, or acquire the able judgment of em- 
broidery products from an artistic standpoint. Those desiring 
information in regard to purely artistic qualities of embroidery 
will find a number of very exhaustive books on the subject, also 
the section of this book dealing with styles will be found very 
instructive, but the real aim here is to give telling points con- 
cerning the commercial side of embroidery. 

The embroidered goods in your shop windows and on the 
shelves are the best means of interesting customers. To arouse 
in them a desire to own such objects for their own homes or to 



The Successful Embroidery Shop 61 

present them to friends or relatives. Quite naturally, the ability 
to reproduce these beautiful objects by individual work gives 
them double value: beside the greatly reduced cost is an im- 
portant factor in inducing the customer to buy the stamped piece 
and the embroidery threads and do the work as best she can. 

Though a shop uses these models mainly for advertising 
purposes, it is always best to be willing to sell them, if the right 
price can be obtained. Good selling designs should always have 
models. In fact, without a model, it is a hard matter to im- 
press the appearance of a stamped piece upon a customer's mind. 

The models can be obtained from the large supply house 
from which the stamped goods are bought. Once a model is 
acquired, it is a good idea to copy it, if the sales are promising, 
for such a piece is apt to sell before the stamped stock is gone. 

For an enterprising shop, which manufactures its own 
stamped goods, a good, artistic art needleworker is indispensable. 
If the manager of the shop is also an embroideress, it will be 
found very easy to break in workers and train them to carry 
out her ideas. The best way is to do all the embroidery work 
under her supervision, but if such a thing is out of the question, 
the instructions should be thorough and explicit. 

A shop which sells many embroidered pieces will do very 
well to advertise for workers and send out work to be done at 
home. There are any number of women in the country who 
can do good, even excellent work and will be glad to do work 
for lower prices than city workers charge. 

In case a shop handles a great deal of hand embroidery, 
especially fine work, made to order, one or two very good needle- 
workers will be found necessary right in the shop. Of course, 
all this depends on the circumstances in which a shop finds itself. 

It is the principle of the larger manufacturer and the whole- 
saler to sell the finished models at cost price, sometimes even 
below cost, for the reason that these finished models help along 
the sale of stamped goods and all that goes with these articles. 



62 The Successful Embroidery Shop 

But, with the retailer this is altogether different. For the shop 
a model sold at small profit is a total loss. The model of some 
good seller in the window is worth much more to the shop than 
the small profit made from selling a finished piece. 

It is advisable to sell such models with the understanding 
that it will be duplicated for the customer. It can be duplicated 
then, either in the shop, or the piece can be ordered from the 
manufacturer. 

Quite often there is a demand for stamped goods on which 
the embroidery has been started. This is decidedly a production 
which is best to make right in the shop. The wholesaler and 
large manufacturer very seldom will care to fill such orders. 
The shop can do it profitably if there is some one connected with 
it who can embroider artistically. 

All in all, the embroidering, as far as the general shops are 
concerned, singular as it sounds, is but a side issue. Embroid- 
ering is a necessity and it is the means by which costumers are 
induced to buy stamped goods and materials. 

The only exception to this rule are the shops which specialize 
in the finished embroidery work. Such a shop must have a 
large clientage of well-to-do people who can afford to spend 
money on this sort of luxury. Such a location affords great 
business chances for a clever shop manager who is also a fine 
and artistic needleworker. 

SECURING GOOD MODELS AT LOW PRICES 

These hints are mainly useful to the smaller shops in middle 
and small sized towns, where while fashion rules, of course, 
it does not race forward at such a fierce gait as in the larger 
cities. 

The large manufacturers and jobbers, also importers, have 
their seasons quite a great deal ahead of the retail shops. The 
spring line, which generally sells from February till almost the 
latter half of the summer, is wound up, as far as the big con- 



The Successful Embroidery Shop 63 

cerns are concerned, by the end of March or first of April. 
Therefore, samples of articles which these large houses do not 
intend to carry over into the fall are sold 50% off, and many 
times for less. 

Knowing this, it will be an advantage to the shop to advise 
the traveling salesmen of such concerns that they would con- 
sider such and such samples after the season is ended. Many 
times, the salesmen are only too willing to oblige the shops by 
obtaining such models, and it will pay you to take advantage 
of this opportunity when you see something good. 

For those who visit the large markets, it will prove profitable 
to ask the home office if they have job-lots of this kind. 

Wonderful bargains can be secured if the shop can afford 
to invest even as small a sum as $50.00 in such objects. Some- 
times embroidered models worth $5.00 are given away for one- 
fifth the cost. Of course, to be able to make such bargains, one 
must know the right market. 

Every saving made this way will have a telling effect at the 
close of the year, therefore it is worth while to be on the watch 
for opportunity. 



MANUFACTURING OR MAKING NOVELTIES 

Those who possess skill and originality will find this a very 
rich field. It has double advantages: first, it gives an oppor- 
tunity to show new things in the store at the lowest cost, and 
second, a great deal of otherwise useless material can be utilized. 

Novelties are innumerable. One has to know all the de- 
mands of the fair sex to catalogue them, and even then new 
ideas will crop up unexpectedly. 

A novelty is a nice something which has a claim of utility. 



64 The Successful Embroidery Shop 

The nicer and more useful, the more it will be demanded by the 
great buying public. 

Novelties are made from ribbons, laces, from linens, from 
cotton and silk goods. In a word, from everything. The best 
items among them are the following: 

Bags, work bags, handy bags, toilet rolls, music rolls, silver 
holders, stationery cases, vanity cases, purses, pin cushions, ac- 
cessory cases, tie folds, pajama pockets, night gown and shirt 
waist pockets, umbrella cases, belts, garters, crochet ball holders, 
laundry outfits, traveling aprons, all kinds of straps for linens, 
towels, napkins, etc., napkin holders and rings, table cloth 
pockets, doily and centerpiece rolls, hot roll pockets, tea cosies 
and so on. 

The articles are either decorated with embroidery or stamped 
for this purpose or, especially in silk and ribbon novelties, they 
are painted with water colors. 

There is also a wide range of articles which are made from 
the same material, but are pasted on card board or wood. These 
are also often outfitted with metal parts which make them less 
practicable for the general shops. 

Articles of this sort are tie racks, pipe racks, broom and 
whisk broom holders, shaving pads, boxes of all kinds and for 
various purposes. 

The history of the last ten years in the embroidery world 
shows a very great development in these lines, and gives the 
following general idea about novelties. 

They are characteristically of two different types : the useful 
and the luxurious. 

Among the useful are types of remarkable steadfastness. 
Articles which are in steady demand, which are accepted as a 
necessity and find a ready sale when offered. These articles are, 
in many cases, of local value, that is to say, while some of them 
sell freely in one part of the country, they are a drug on the 
market in other parts. 



The Successful Embroider}) Shop 65 

This, of course, must be understood by the shops and the 
knowledge used accordingly. The forcing of undesirable articles 
on the public is a grave fault and the shops must strive to please 
the customers by putting before them such articles as they need 
or want. 

When novelties are first introduced, it is hard to foretell 
the results, but it is a good general rule to judge these articles 
from the standpoint of their usefulness first, and the artistic 
appearance afterwards. 

Something comic, or something that has a general appeal very 
often brings along good business. For example, a firm in 
Chicago brought out a novelty darning bag with a simple 
design depicting the accessories of the work, and the words: 
' Darn those sox!'. That bag has taken the whole country by 
storm. 

This only shows that the understanding of human nature is 
just as vital a factor in the embroidery line as in any other busi- 
ness, therefore, to attain success, one has to be on the alert to 
find the vital spot. 

All in all, this part of the business is very commendable if 
circumstances permit its handling. Some shops make it their 
main source of business. 

UTILIZING WASTE MATERIALS 

The manufacturing of stamped goods and the cutting up of 
material very often involves waste. The goods do not always 
cut to advantage or shapes cannot be fitted to the materials. 

The reason for mentioning this right here is that by using 
originality, these left overs can be very easily turned into 
novelties. 

It was found in many cases quite practicable to have a 
general bin for the storing away of this waste. By doing this, 
the shop is always in a position to look over these remnants at 



66 The Successful Embroidery Shop 

a glance and when the proper time comes, to make plans for its 
utilization. 

The time for doing this must be established by the shop. 
In general, the novelty business is a holiday business, therefore 
whatever is to be made must be ready by October for the con- 
venience of those who want to do their embroidery work early. 
Novelties which are finished and can be used as they are, might 
appear later. 

The business in this goods is over with by Christmas — some 
novelties appear for Easter, but this line is not important. 

It is a good idea to work up materials during the year at 
odd times, and thus keep the shop assistants busy, rather than 
dispense with their services during the dull seasons. 

There is also another waste to be taken into consideration. 
In cutting goods, principally wearing apparel, there is always a 
waste which cannot very well be utilized in the above described 
ways. This waste can be termed rags. Of course, the articles 
must pay for themselves, and these rags do not cost the shop 
anything, nevertheless, they represent some value and if properly 
gathered, the white rags kept separate from the colored ones, 
etc., they can be sold for from 4c to 5c per pound. 

III. BUYING 

THE most important of all the business transactions in a 
needlework shop is buying. Well bought goods are 
generally easy sellers, therefore the buying end cannot be over- 
shadowed by the selling end. The success generally comes to 
those who are able to balance the two into one harmonious 
service. 

Successful buying means the acquiring of such goods which 
find ready sale at the lowest possible prices. This is an indis- 
putable fact and it sounds easy, but in reality it involves a vast 
amount of knowledge and a good merchandising ability. 

Quite naturally, the cheaper the shop can buy, the greater 



The Successful Embroidery Shop 67 

shall be its profit, but if the shop buys anything that cannot 
be sold easily, the investment will, in time, grow and the profits 
will dwindle. 

Many times objects bought at a high price, with rapid sales, 
will prove quite profitable. 

The many sided question of buying, after all, will remain 
in the hands of the manager or buyer of the shop. The ability 
of this person and the good judgment of the purchases, will be 
the main factors which help or hinder the advance of the 
establishment. 

All that can be systematized is done toward promoting suc- 
cess for the shop, but this knowledge shall serve as stepping 
stones only. In buying, one cannot say that this or that is the 
best method, for buying is not like manufacturing — it is not a 
process, but a venture. Therefore, the method which might 
bring success to one would probably undo the other. 

The location, the class of customers, the sudden change of 
fashions, the appearance of a new fad, all these must be con- 
sidered, by the buyer, beside a hundred other details, to enable 
the shop to prosper, and if a mistake does slip in, it must be 
repaired by the selling and manufacturing end. 

In fact, the inter-relation of these business phases is so close, 
or should be so close that a general balance should always be 
maintained. This is the main reason why we advocate the 
opening of a shop, in the real sense of the word. 

The following details will serve as the best means to make 
buying systematic and as safe as possible. 

WHAT AND HOW TO BUY 

The object is to buy good sellers at low prices. Things 
which are in demand,' on which the shop can make a profit in a 
quick turn-over and even if the profit is small, the chances to 
lose are few. 

This style of buying can best be termed as conservative 



68 The Successful Embroidery Shop 

buying. It is safe, but most generally it will result in making 
a living. To make money by giving good service, a shop must 
be on the lookout for good investments. The buyer must risk 
a plunge if his instinct dictates it to him, and if he desires larger 
profits. This will be a risk, if the buyer acts in a haphazard 
manner. If he is well informed, knows merchandise and the 
demand of his particular neighborhood, the venture will be 
rather safe. 

Therefore, the conclusion is that a beginner should buy 
conservatively, while an accomplished buyer can take chances by 
using good judgment. Above all, every shop should remain 
within the strict confines of fancy goods. Some will find 
themselves better off by specializing. 

Where a general fancy goods shop might fail, a special 
shop for baby goods in the art needlework line might be 
successful. 

Buy what is demanded, buy it from the firm which serves 
you best in price, quality and terms. The firm which gives you 
the best reputation and prestige might be the one to patronize. 
But, no matter where you buy, do not load yourself up with 
new things, but try them out before going into any investment 
too deeply. 

For the right sort of buying, one must gather up the data 
systematically. While it is beyond our power to give an abso- 
lutely perfect formula for successful buying, a great deal can 
be accomplished by using system in this end of the business. 

For example, we shall select the art stuff, such as cushion 
covers, scarfs, centers, etc. 

There are, so to say, two main seasons for the needlework 
shop which is permanently located in any town or city. The 
spring and the fall seasons. The difference between the two is 
remarkably well defined. The spring season leans toward white 
goods in general, and the fall (always the best season) toward 



The Successful Embroidery Shop 69 

the brown linen stuff and art cloths, etc. Naturally, embroidery 
material and accessories go accordingly. 

We will return to the cushions and scarfs. The salesmen 
of the large manufacturing and jobbing houses will show their 
samples early in the summer. In larger cities they make regular 
exhibits of the goods planned for the fall season. The buyer 
of the shop should never fail to look over their goods. But, 
between looking at and buying, there is a great deal of difference. 

Should the buyer feel inclined to make an initial purchase, 
to test out the new goods, he must always consider his best sellers. 
Some people trust to their memories — a small shop might be 
satisfied with this method, but a real, progressive shop should 
taboo it. 

A card system might prove very handy in keeping correct 
data of your sales. And, on these cards, all the best sellers 
should be recorded, with date of purchase, quantity of sale. 
This must be kept in such a way that the turn-over can be 
established at a glance. The following method of keeping the 
data is the simplest: 

Cushion, Scarf and Center. . 123 (or any mark) Poppy design. 

Received August 1st, 1 embroidered sample cushion. 

" " 1 doz. cushions, J / 2 doz. scarfs, J4 doz. 
centers. 

In stock August 31 V12 doz. " , %2 " " $12 " 
centers. 
(This shows the sale of the set from the first till the end 

of the month). 

Sept. 30 %2 doz. cushions %2 doz. scarfs. Cen- 
ters out. 

This card shows at once how the sales moved, and if the 
record is promising, a similar object would, most likely, prove 
a good purchase. 

Whatever method is used, it is evident that the buyer who 



70 The Successful Embroidery Shop 

has such data on hand will be able to avoid mistakes. There- 
fore, never consider it a waste of time to record selling events 
at least once a month. 

Beside guiding you in your buying, such a system will also 
post you, at a glance, concerning the state of your stock. 

To the sorrow of the large manfacturer and the importer, 
shops are more and more depending upon themselves. While, 
of course, most shops have to buy to a certain extent, their 
purchases are generally limited and they manufacture, having 
once secured a model of what their customers demand. 

It is a question as to whether this is right or not, but 
undoubtedly it is an advantage for the shop to secure good 
models and designs in this way, for it is a decided saving. 
Buying under such circumstances is less of a risk. 

The most difficult phase of buying art goods is the ad- 
judging of absolutely new features. Designers for embroidery 
are stedily planning new things with which to satisfy the hungry 
public, things which are not only new, but striking and at- 
tractive. Something which will appeal to everyone. Of 
course, the success in doing this by the tremendous production 
of our days is very limited. But, once in a while a star blazes 
up on the horizon, and a new idea in the realms of embroidery 
conquers the country from the Atlantic to the Pacific. 

Like a gorgeous butterfly, which flutters and dances its 
short, wonderful life away, so these fads come and go. But, 
to the buyer, such a fluttering idea might mean a great deal 
of hard cash. 

Looking back on the last ten years in art needlework, we 
can point out the different phases of this art very clearly. 

In 1905, the rick-rack, or serpentine or repousse braid 
made its brilliant appearance. Suddenly, the black effects on 
yellow ground became the popular favorite. The demand 
grew, till, in 1907, it gave room to the milder coronation cord, 
white or navy blue became the fashion. Suddenly, in 1909, 



The Successful Embroidery Shop 71 

the Arts and Crafts and Mission styles sprang into existence. 
This had a long and successful run, in fact these styles in 
various modifications still live where the braid effects are dead. 

The light and pleasing Rambler Rose, the Millefleur effects 
came along, then the Punch work embroidery demanded at- 
tention. Suddenly a lull came and the whole embroidery 
world went mad over crocheting. 

Fortunes were made by those who brought out instruction 
books in time for the crochet-hungry buying public. 

All this serves to accentuate the importance of the great 
question : 

"WHAT IS GOING TO BE THE NEXT THING?" 

Anyone with keen observation and able judgment, with 
a full knowledge of the field and an intimate relationship with 
the customers should guide the shop in answering this question. 
Some people have a rare gift of guessing " which way the cat 
is going to jump " and those who have this all too rare quality 
are seldom failures as buyers. 

So far we have dwelt on the artistic part of the business. 
The part which is the sugar to the pill, which induces the 
customer to depart with his cash. Besides buying these goods, 
there are a thousand and one other articles in the embroidery 
business which demand knowledge and sharp judgment. 

The merchandise handled is of several kinds, each demand- 
ing different viewpoints in judging advisability of its purchase. 
Then there are some which the buyer should always look 
upon as positively dangerous to handle. 

The merchandise groups are materials such as linens, 
cottons, and cloths of all kinds to serve as material to be cut 
up, stamped and sold for embroidery purposes. 

As the styles of embroidery are constantly changing, so 
the make, appearance and quality of these products change. 
One aids or detracts from the other's development, but there 



72 The Successful Embroidery Shop 

is no standstill, on and on the race goes and new things come 
and go, but old, tried out staples stand like rocks. The buyer 
has to learn his own staples — more, he has to love them, some- 
times nurse them tenderly, for these are the real backbones of 
the business. 

In the silks, fibre silks, mercerised cotton embroidery and 
crochet threads it is always good to establish certain excellent 
and reputable brands and to carry them through every phase 
of the business. The popular shades must be, of course, fully 
impressed on the buyer's mind, as well as the important fact 
that this popularity changes. Buying must then gently follow 
out the winding path of demand. 

In preparing a list of materials to be bought, the past shall 
guide the buyer, not as it should have been, but as it was. 
The percentage of increase and decrease of sales in certain 
goods serve as a good buying barometer. 

Everything considered, the buyer who is able to shorten 
the time between the purchase and the sale is on the right 
track. It is very plain that goods which arrive today and are 
gone within a week's time, making a quick turn-over, bring 
in a larger profit than goods which are not sold within six 
months' time. Naturally, purchases on goods which take a 
long time to sell should be very limited, but to eliminate these 
goods from the stock would not do at all, for the buying public 
sometimes insists on having just that article and no other. 
Very often the quick turn-overs have to pay the rent for these 
slow sellers. 

The real test of good buying comes at stock-taking time. 
Too many left-overs spells poor buying, and here again the 
manufacturing end must come to the rescue and, by ingenious 
methods, means and ideas, help work up the left-overs and 
get rid of them under a different title, form or appearance. 



The Successful Embroidery Shop 73 

DIFFERENT METHODS OF BUYING 

There are two distinctly different methods of purchasing 
the wares for a shop. We will term these, for simplicity's 
sake " The Massing " and " the independent " methods. 

The buyer who follows the first method will mass his 
orders and buy his goods from as few sources as he can. Thus 
he will give big business to a few supply houses. By massing 
the orders several advantages are secured. The large supply 
house or manufacturer to whom he gives his business will see 
him through on his propositions. They represent big capital 
and are able to give the advantage of prompt and steady 
services. Indeed, they will go on and point out propositions 
worth while to attempt and in proportion to the business given 
them, they will try to uphold the shop's interests, realizing 
that, in a way, it is to their interest to do so. 

Against these advantages the independent buyer can get 
his wares at the lowest prices. He will be on the lookout for 
bargains and will get his goods wherever he thinks he can get 
them at an advantage. By this skirmishing about and freely 
dividing up his purchases, he very often makes enormous profits. 
This method of buying, however, demands a much wider 
knowledge of merchandise and an abler judgment than the first 
method. 

No real and reliable manufacturer or jobber will stock up 
a steady customer with goods which he knows that the shop 
cannot sell to an advantage. Whereas, the independent buyer 
must look out for himself. 

For the person who is launching himself into this business, 
it is always advisable to follow the massing method of pur- 
chasing. It is the best way to make a start. If the talent for 
successful merchandising is in the shop keeper, it will be an 
easy matter for him to try his wings and attain the often more 
profitable independent method of buying, after he is firmly 
established. 



74 The Successful Embroidery Shop 

The large concerns send their salesmen with sample lines 
for every season. No matter how busy the shop keeper is, he 
should always give attention to these lines. It will serve to 
keep his ideas up to date. It is not necessary to buy, yet the 
chance is there to see new things, to get new ideas, and why 
should she let such a chance pass ? 

It is a poor buyer who has no time to look at the things 
offered to him. It is his business to discriminate between buy- 
ing or not buying, but how is he going to keep in touch with 
what is going on if he cannot snatch time to look at these free 
exhibits? 

For the benefit of beginners, a list of prices of materials 
essential to up-to-date embroidery shops is embodied in this 
handy book. These prices are not, naturally, stable prices, 
but they are average, and they represent values in certain 
goods which have proven their usefulness during many years 
in the embroidery business. 

These prices are wholesale, and it is up to the shop to 
decide the retail price. 

PRICE LIST OF PIECE GOODS* 
To be used as a general guide. In the list of supply houses 

the classification of their lines will guide the buyer in finding 

the right concern for the goods desired. 

The names of the different fabrics are, in many cases, 

trade names, but they are all familiar to the fancy goods trade. 

Aberdine Crash. ......... 17" wide 10c 

" 22f " I2C 

" 27" " I5C 

Aida Canvas , 34c 

Albatross Cashmere 40" " 40c 

Burlap 23" " 12c 

" 36" " 1 8c 

" 45" " 30c 

*On account of the war almost all prices have advanced 100%, some even more. 



The Successful Embroidery Shop 



75 



Batiste 36" wide 15c — 20c — 25c 

Basket weave 36" " 30c 

Brown linens 18" to 54" prices vary according to quality 
15c to 80c. 

Baltic Crash 18" wide 7c 

36" " 14c 

Belgian Crash 30" " 10c 

Barnsley cloth 36" " 10c 

Chiffon Witchery 36" " 16c 

Snowflake Crepe 30" " 1 ic 

Rowing " 33" " 19c 

Striped " 30" " 18c 

Cambric 36" " 8c 

Creaton, cheap quality.... 36" " 12c 

Caspian Crash 17" " lie 

" 22" " I 4 C 

" 27" " 17c 

Coventry cloth 18" " 10c 

" 36" " 19c 

Creponge 30" " . ioc 

Figured Crepe 30" " 12c 

Crash 21" " 12c 

Carolla cloth 50" " 75c 

Caspian crash 17" " 1 ic 

" 22" " 13c 

" 28" " 1 6c 

" 36" " 21c 

Creton, good quality 36" M 18c to 25c 

Curtain scrim, cheap 16" " 6j^c 

Duck, white and colors.... 40" " ioc 

Dimity, low grade 40" " ioc 

Dimity, better quality 36" " 14c 

Dinant cloth 36" " 23c 

" " 44" " 28c 



76 



The Successful Embroidery Shop 



Cotton Damask 62" 

Embroidery cloth 54" 

Felt, Low grade 70" 

Flannel 32" 

Grammont cloth 36" 

" " A a" 

44 

Gabardine X 30" 

Henrietta Cashmere 42" 

" Cotton 42" 

Huck toweling (Linen) ... 15" 



wide 



(Cotton) 



20 
22" 

15" 



27c 

..... 54c 

34C 

50c 

20c 

25c 

16c 

80c 

30c 

. 18c to 30c 
.20c to 35c 
.35c to 45c 



8c 

Other widths in proportion. 

Ivory Flannel 30" " 35c 

Lawn 36" " ioc 

Lawn, higher grade 40" " 15c 

Linens — (Prices are based on medium quality and according 

to the material in question. Allowances should be 

made for higher or lower prices.) 



18" 
21" 
24" 
27" 
36" 
45" 
54" 



wide 



Lowest 
ioc 
12c 
14c 
1 6c 
20c 
28c 
34c 



Middle 
20c 
24c 
28c 
32c 
40c 
54c 
66c 



Linine, (printed cotton) .... 28" wide. 
Mercerized cloth, all colors.. 28" 

Momie cloth 40" 

Nainsook in different grades. 36" 

Net for insertion 60" 

Organdy 30" 



High grade 
30c 
36c 
42c 
48c 
60c 
84c 
$1.00 

9c 

40c 

40c 

..ioc to 15c 
60c 

I2C 



The Successful Embroidery Shop 77 

Organdy Soy 30" wide 10c 

Oatmeal cloth 44" " 18c 

Oxford Pongee 30" " 12c 

Pique, Plain striped 27" " 16c to 25c 

" Russian cord 27" " 22c to 36c 

" Wide striped 27" " 1 8c to 26c 

Poplin No. 15 30" " ioc 

Good quality. .. 30" " 25c 

Poplins la France 30" " 20c 

Rep 28" " 12c 

Rep silk 50" " $1.20 

Royal Henrietta cloth 42" " 80c 

Shadow net cloth 30" " 18c 

Shadow striped cloth 36" " 20c 

Seeded voil 36" " 20c 

Sultana Cloth 28" " 6c 

Sateen white and colors. . . . 36" " 40c 

Sheikei cloth 54" " $1.00 

Towels, turkish according to size and quality, they vary from 

$1.50 per doz. to $5.00 per doz. 

" Linen, according to size and quality, they vary from 

$2.50 per doz. to $12.00 per doz. 

Toweling per yard 15c to 50c 

Ticking 23* wide 12c 

36" " 20c 

Tubing, cotton, (Barker 

Brand) ..42" " 14c 

(Barker 

Brand) ..45" " 15c 

" Continental 42" " 15c 

45" " 16c 

" Linen 42" " 42c 

" 45" " 44c 

Voile, (Good quality) .... 36" " 20c 



78 The Successful Embroidery Shop 

Voile, (Medium Quality). 40" wide 18c 

Velour goods 50c to $4.00 

This price list must be used as a general guide. The prices, 
especially since the European war, are subject to fluctuation 
and some goods have become very expensive. 

STAMPED GOODS, AND STAMPED AND 
READY-MADE GOODS 

Those shops which are partially or completely buying their 
stamped goods must depend on the manufacturers and whole- 
salers of these goods. Year in and year out the large houses 
spend time and money in bringing out new and attractive lines 
for each season. 

The shops which are on the calling list of the traveling men 
of these concerns should never miss an opportunity to inspect 
the lines. To be afraid of being forced into a purchase by some 
clever salesman will often cost the shop more than the small 
investment involved in that loss, by not seeing some new idea 
that might be a winner. 

It is decidedly an advantage to the shop to inspect every- 
thing; the buyer must know what he wants, but he must also 
be on the lookout for what might be needed in the future. 
It is only by inspecting the latest productions and ideas that 
he can determine the trend of popular tendencies. 

The demand for stamped goods is staple. 

It is true that the ideas change constantly, sometimes sliding 
from one thing into another naturally, sometimes jumping from 
one totally different thing into another, nevertheless it is abso- 
lutely necessary to keep a close watch on things or all at once 
the shop will be out of harmony with the wants of the public. 

The ready made, or, as some people term it, and more cor- 
rectly, the semi-made stamped goods are mostly bought from the 
manufacturers or wholesalers. It would be too much to expect 
that a small shop can do this sort of manufacturing. In many 



The Successful Embroidery Shop 79 

cases it would be impractical, in others more costly than the 
manufacturers' products. There is one way, however, which 
could be applied to this case successfully and that is to give out 
the sewing end to workers as piece work. (The chapter dealing 
with made-to-order embroidered goods describes this method 
more thoroughly.) 

All in all stamped goods form the nucleus of the business, 
and it is worth while to give a great deal of attention to them, 
not only for the direct profit derived from them, but also as 
the means of selling a great number of other embroidery ma- 
terials with which to finish the stamped piece. Sometimes these 
materials will cost considerably more to the customer than the 
stamped piece itself. 

Beside the style and desirability of article and design, con- 
sideration should be paid to neat and attractive stamping. No 
customer wants a badly stamped, smeared or finger-marked 
article. Carefully inspect each article upon arrival and if they 
are not exactly as they are represented by the samples, return 
them. Every reliable house will exchange or give credit if the 
demand is just. 

In displaying stamped goods, it is desirable to keep them 
under glass, for they soil easily. 

PACKAGE GOODS 

The embroidery field is practically swamped with the so- 
called package goods. These goods are planned and put to- 
gether under the following ideas: To give the customer in one 
package a piece of stamped cloth, with the necessary material 
with which to embroider it, and printed instructions telling how 
to work the piece, explaining stitches and the modus operandi 
in general, up to the finish, 

Every package contains advertising literature which bring 
in more sales. Naturally, the manufacturer who puts up package 



80 The Successful Embroidery Shop 

goods must figure very carefully with embroidery materials and 
in consequence the designs are mostly very simple. 

Now, this is what appears on the surface, but looking deeper 
into the matter we find that the manufacturer or wholesaler 
has other objects in view when he puts a line of package goods 
on the market. 

First of all, the chance to give direct to the retail costumer 
advertising information. To give this customer the winning 
points in regard to the materials they handle. This is especially 
the case with embroidery and crochet threads. 

Therefore when a shop begins to think of handling package 
goods, the following points must be very carefully considered. 
What kind of embroidery threads does the shop want to carry? 
If Columbia cottons and lustrones are in stock and found meri- 
torious, it would be fatal to introduce package goods which 
advertise the threads of a different brand. The reason for this 
is very plain: The advertising literature will create a demand 
for the kind of goods the packages contain and the customers 
will, for the most, insist upon getting what they want. There- 
fore, if package goods are desirable, it is best to limit them to 
the products of the firms which handle the same cottons and 
threads that the shop does. Otherwise an endless confusion 
will be the result. 

These goods are generally in public favor, and, since they 
are easy to handle, it is worth while to give them a trial. 

The shop which has developed a mail order branch will find 
the package goods an exceptionally good scheme. The con- 
cerns which supply these goods are always willing to give a 
liberal quantity of advertising matter with the shop's address 
printed thereon; this advertising matter is in the shape of 
folders which tell about twenty-five to fifty package articles. 
The shops which have a few hundred names on their mailing 
list can send this out at a very low cost and reap the benefits. 

The compact form of package goods make them very easy 



The Successful Embroidery Shop 81 

to hadle and they can be sent by parcel post to the mail order 
customers with little cost. 

Further details in regard to this end of the business can be 
found under the chapter of " Establishing a Mail Order 
Department." 

IMPORTED GOODS 

At least half of the merchandising in facy goods is done 
in foreign goods. Before the war began the whole world was 
catering to the markets of the United States of America. It 
is very reasonable to assume that when peace will bring its bless- 
ings to the war torn countries, the wounds will heal rapidly 
and commerce will be resumed where it was dropped. For this 
very reason we shall not deal with Imported Goods where it 
stands at this hour, but with a brave glance into the future. 

The countries which have produced so many well liked 
articles for American use are: 

Austria, Belgium, Bulgaria, China, Denmark, England, 
France, Germany, Hungary, Italy, India, Japan, Norway, 
Persia, Portugal, Roumania, Russia, Spain, Sweden, Switzer- 
land and Turkey. 

Most of these nations are wielding the sword at this 
writing, and what their industries are doing is hard to say, but 
in their past lies the assurance of the future. We shall mention 
the products of these different countries, inasmuch as they are 
important in regard to the embroidery shops. 

Austria. This country produces a very important quantity, 
of popular priced linens, mostly of natural color. These are 
used a great deal for embroidery purposes, such as cushion covers, 
scarfs, centers, etc. The Cluny laces of Austrian make are also 
an important item, both in price and quality. 

Vienna is a great art center, many importers finding beauti- 
ful embroidered pieces in the artistic shops of the old imperial 
town. Their tapestry goods are considered equal to any other 



82 The Successful Embroidery Shop 

product. All kinds of laces and trimmings, beside canvases 
and Smyrna work materials are important imports from this 
country. The peasant embroideries are known all over the 
world. Beads, spangles, pearls, jewels, buttons and accessories 
come from Austria in large quantities. 

Belgium. The bleached linens, cheaper tapestries, and 
certain laces come from here, and are very popular in the United 
States. 

Bulgaria. This country exports home-spun linens and a 
great quantity of cotton embroidery, with typical designs origi- 
nated by the peasants of the country. 

China. Silks and exquisite silk embroideries. 

Denmark. Linens, embroidery cloths and the well known 
Copenhagen embroideries. 

England. Linens, especially from Ireland, are famous. 
Linen threads, mercerized cottons, wood silks, silk embroidery 
threads. The Nottingham laces are of great fame. Needles, 
pins, crochet hooks and all sorts of accessories. 

The art embroidery, in all its branches, some tapestry and 
a great deal of Irish crochet work. Hand made laces are also 
well known. 

France. The best liked cotton threads, the finest tapestry 
goods and the most individual artistic laces and embroidery 
goods come from France. French novelties are leaders in this 
line. The goods are of the highest quality and, although the 
prices are high accordingly, they are, to a certain extent, in 
demand. 

Paris being the residence of the Queen of Fashion, many new 
embroidery ideas and styles are originated there. 

Germany. This is the country which produces for the 
masses. The medium and cheap goods from Germany are 
unequaled the world over, though Austria competes with her 
in some makes. 



The Successful Embroidery Shop 83 

Linens of all kinds, materials to serve as ground for em- 
broideries, canvases, mercerized cottons, fibre silks and many 
notion articles are among the most demanded products. The 
ready-made embroidered goods from Germany are of wide- 
spread popularity in the United States. Celluloid products, 
knitting and crochet needles, accessories, neeedles, scissors, pins, 
hoops, thimbles, etc., come from Germany. 

Their cross stitch work on various articles is decidedly the 
best in the market. 

Their lower priced embroideries are adapted to suit Ameri- 
can taste, the higher class of their artistic expression in em- 
broidery does not appeal to the general taste here, however. 
It is of too elaborate and heavy a character. 

In certain goods, such as beads, spangles, art canvas, yarns, 
shuttles, rings and scissors, their products are hard to beat. 

Hungary. This country excels in the Hungarian embroid- 
eries, home-spun linens, Croatian peasant work, hand made laces 
and embroideries for blouses, etc. 

Italy. Laces, drawn -work, medieval embroidery and Vene- 
tian laces come from here. Their work in white is unexcelled. 

India. Embroideries, hand-made rugs, etc. 

Japan. Embroidered goods of all sorts in Japanese style. 
Drawn work, silks, etc. 

Norway. Embroideries, canvases and some lace. 

Persia. Embroideries, silk rugs, covers and some lace. 

Portugal. The Madeira embroideries. The best known 
and the most beautifully executed white work in the world 
markets. 

Roumania. Embroideries, home-spun linens. 

Russia. Embroideries, peasant work, linens, crash and some 
hand made laces. 

Spain. Hand embroideries and laces. 



84 The Successful Embroidery Shop 

Sweden. Hardanger goods, embroideries and laces. 

Switzerland. Hand embroideries, hand and machine made 
laces, and the well known Swiss machine embroideries. 

Turkey. High grade silk embroideries, laces in limited 
quantity. 

Aside from the goods received from these mentioned coun- 
tries, large quantities of various sorts of embroidery materials 
arrive from the West Indies, the Philippine Islands and also 
some specialities from South America. 

The importance of knowing the origin of the goods is 
probably not so great as knowing those of local markets, but 
in many cases the shops might develop and import directly in- 
stead of buying through importers. 

To secure the addresses of reliable exporting firms in 
foreign countries, it is best to turn direct to the Consul of that 
particular country whose wares are desired. A personal call 
or a letter will bring the desired information. 

The parcel post service permits the small shops to import 
goods in limited quantities. The foreign business concerns once 
located, and business relations established, will be found not 
only reliable and pleasant to deal with, but decidedly obliging 
and courteous. 

Naturally, in these small importations, the shop must give 
considerable forethought to the matter, for it takes some time 
for the ordered goods to arrive. Catalogues and price lists can 
be secured in time and once the shop knows its demands, many 
staple articles can be secured by direct importation. 

Correspondence carried on in English will, in most cases, 
be satisfactory, but a knowledge of the metric system will be 
found of great advantage to the buyer. 

Needless to say, a well established, modern shop will find it 
advantageous to establish foreign relations. 



The Successful Embroidery Shop 85 

LACES, EDGINGS, TRIMMINGS 

The finished product of the embroideress needs, quite often, 
some additional embellishment to put it at its best before the 
buying public, or to place the article in the home where it will 
make the best showing. These effects are the laces, edgings 
and trimmings. 

It is in the interest of the buyer of the shop to familiarize 
herself with as many of these kinds of articles as possible. A 
very good method is to procure lace samples and paste them 
in a book with prices and descriptions. 

The laces, especially, offer a very wide range for the student. 
The main considerations, as far as laces go, are: 

The workmanship, that is to say, whether it is hand made or 
machine made product. 

The material, linen, cotton or whatsoever the foundation 
threads might be. 

The style of lace. This is in the method of the working in 
the design, and in machine products, in the mechanical imitation 
of the two. 

The value of laces varies from the very lowest to the highest 
price. There are several very handy books on the market, 
which treat on the history of lace, the styles and also qualities. 
Any one desiring a deeper knowledge of laces would do well 
to get a list of books from the Lace and Embroidery Review 
Publishing Company, New York City, and select those which 
will best suit her particular need. 

The use of laces can be divided into two divisions: lace 
edges and lace insertions. The difference between the two is 
very evident. Lace edges serve as edge decorations, whereas 
the insertion is a decoration placed in the middle of a field, both 
edges being held by the material. 

The buyer must consider, above all, the purpose for which 
she is buying. Some laces are very good for one special use only, 
while others serve many purposes. Certain shops will need a 



86 The Successful Embroidery Shop 

wide variety of laces, while others will do better with but a 
few of a certain kind. 

By following the trend of fashion, it will not be difficult 
to divine the want of the shop, but one must establish the 
staples, and by using these as a basis, it will be easier to experi- 
ment with new goods. 

The strongest contrasts of laces used are between the heavier 
kind, applied on centers, scarfs, runners, ovals, etc., and the 
laces for lingerie, dress, baby goods, etc. In this the difference 
is obvious. The first demands substantial, the second dainty 
laces. A shop catering to demands for only one sort of goods, 
should taboo the other class of laces, for it would only cause 
trouble to attempt to introduce an article which cannot be 
backed up with the other necessary materials. 

SPECIALIZE! For it pays, decidely, to create certain, 
fixed demands for certain things, providing the location of the 
shop permits it. The wise buyer, however, must know when 
to provide for specialities or for a general demand. 

As far as prices and quality are concerned, it is always a 
difficult art to choose the right thing. Cheap prices are, of 
course, of importance, but quality, appearance and general at- 
tractiveness are more so. Some very cheap lace may turn out 
a " sticker " if it has no attractions other than the low price. 

The best guide in buying lace is a refined taste in choosing 
designs which must have a general appeal. It is a difficult art 
to pick winners from a salesman's sample book, but the buyer 
must train her eye to see at a glance which would be the cream. 
In these days, when designs are produced in such large quan- 
tities, there are many which are without appeal, that is to say, 
they are average, melting into grayness and without striking 
qualities. 

Perhaps the best way to judge lace designs is to look for 
a decided design in them. Where there is an attractive vari- 
ation of the contour, where the idea of the designer is clearly 



The Successful Embroidery Shop 87 

drawn and takes the eye at the first glance, that piece of lace 
will generally prove a good article to have on hand. 

Experience must do the rest. And this must be the result 
of keen observation and the consideration of the demands of 
locality. 

These remarks will also apply in the case of edgings and 
trimmings, although there are certain variations which must be 
considered. Above all, laces are generally white, a certain 
percentage are cream, a smaller percentage Arab, a still smaller 
linen color or tan, whereas the edgings are all colors and per- 
haps a combination of colors. 

This fact must naturally be taken into consideration. The 
question of color or colors must be considered very seriously 
as well as the design itself. Neat designs, dainty colorings, 
are most in demand now. Go after these, study the effect of 
colors and keep in mind the articles which the edgings and trim- 
mings are to decorate, A haphazard purchase in trimmings can 
very easily bring heavy losses. Some of these edgings are of a 
happy, adaptable character, which yield to the deft hands of the 
worker with ease, while others are hard to handle successfully. 

The buyer must consider this; if she cannot do it alone, she 
must have a talk with the trimmer and, eventually, the designer 
might prove of help. 

Fringes, cords, tassels, ribbons and all the materials that 
are used for the completion of embroidery, crochet or knitted 
articles, come under the heading of Edgings and Trimmings. 

Fringes are of what might be termed tapestry character, 
for they are of heavier and more substantial structure than 
edgings. They are rich decorations for cushions, scarfs, centers, 
ovals and similar articles. 

A number of splendid fringes are being produced these days 
but fashion varies in its demands. One year, long fringes and 
tango tassels are in vogue, while the next calls for short, chubby 
edges with scallop like effects. The buyer must be informed in 



88 The Successful Embroidery Shop 

this respect, by following the trend of ideas, reading up-to-date 
fashion news and looking at the samples of first-class houses. 

An occasional visit to the leading metropolitan stores will 
be of great assistance. 

Where set rules cannot be followed, experience and a 
wide-open eye which is trained to receive and store up ideas is 
of great value. 

The narrower trimmings, such as stickerei edges, scallops, 
braids and fancy tapes are of less importance to the embroidery 
shop, unless the locality demands these articles. Under any 
circumstances, the widest knowledge of merchandising will be 
of the best service to the buyer. 

There are thousands and thousands of articles in this line, 
which can best be studied by reading the catalogues of large 
manufacturing and supply houses. 

In this way, at least, the shop will do away with that 
provoking saying: "We do not carry it," and substitute, in its 
place, the more pleasant: 

11 We do not have it in stock, but we can get it for you 
within a few days." 

The shop that can do this is sure to have friends. 

EMBROIDERY AND CROCHET THREADS 

The various qualities, materials and makes of embroidery 
and crochet threads are legion. For the embroidery shop, it 
will be found best to do buying of these in a collective way, and 
have established brands of the best goods in the shop, and 
remain steadfast to these goods. 

To make it easier to understand, we shall divide the goods 
according to materials. Thus we will deal with silks, artificial 
silks, mercerized and plain cottons and specialties. 

Silks. Silk is one of the most beautiful, durable and the 
daintiest of embroidery threads. It has qualities which make it 
superior to any other thread and, in fact, any other material. 



The Successful Embroidery Shop 89 

Silks come in various sizes, most are in fast colors, with 
high luster and almost an unlimited choice in beautiful shadings. 

The war has influenced the colorings to a great extent, but 
since war is an abnormal state, we shall consider the standard 
situation only. 

As far as the quality goes, there are: 
Filo Silk Persian Floss Roman Floss Rope Silk 

Twisted Emb. Silk Caspian Floss Filo Selle 

The price, in general, is between 8oc and 90c per ounce for 
the trade. 

Beside the regular boxed goods, most of the silk houses offer 
assortments in all the varieties. This assortment is very often 
more advantageous to the shop-keeper than any other way of 
buying. Beside the silks in skein, most shops will have to con- 
sider " Spool Silk " which is used for various purposes in sewing 
and finishing embroidered goods with the proper shade and color. 

Crocheting and knitting silks are not less important. 

All these products can be bought with cabinets, which have 
quite a number of attractive features. 

In starting a new shop, if capital is ample, the installation 
of silk cabinets is advisable. 

All in all, while nothing in the fiber or mercerized lines 
can boast of superiority when compared with silk, nevertheless 
the demand for silk embroidery materials is on the wane. 

The reason for this is probably the high price, but we 
believe it is mainly because of the style of embroidery now in 
vogue. It is perfectly safe to presume that, with the styles 
returning to the floral effects, silk will get back to its old place, 
but just when Queen Fashion will make this decision, it would 
be impossible to say. 

The qualities demanded from the silk threads are: firmness 
smoothness and fast colors. 

The silk houses produce excellent goods and almost every- 
one in the market has some special inducement to prove that 



90 The Successful Embroider}) Shop 

theirs is the best to be had. It is a matter of taste, in general, 
but the most important factor, in particular, is which has the 
fast dye. 

Dyeing silk is an art in itself and some manufacturers make 
specialties in single colors. Some handle, for instance, only 
black, others certain tones and shades, but when the product is 
offered to the shop, it is a long list of all the colors and shades 
from which to choose. 

The best advice to give to a buyer of silk threads is to 
buy one brand and carry as large a line of this as the demand 
permits. Naturally, the shop must have a guarantee of fast 
colors from the manufacturer. 

Artificial Silks. The name itself tells that these threads 
are made in imitation of silk. They come under various names, 
such as Fibre silk, Wood Fibre, arts and crafts silk and many 
other trade names. They are all very highly mercerized pro- 
ducts, rising in brilliancy even above silk, but only in brilliancy, 
for in other characteristics they are far behind the real product. 
However, in their proper place, and rightly applied, the arti- 
ficial silk has been recognized. 

In buying these threads, the buyer must be guided by ex- 
perience, but, in general, the different brands are about all alike, 
and the thing for the shop to do is to confide in some reputable 
house and concentrate its business with that one house, as far 
as these threads go, at least. 

The present day styles demand these silks very much. The 
wiry, rather heavy artificial silk produces brilliant effects, is 
much more quickly worked up than silk, but beware of trying 
to launder the article when done. Harsh treatment will ruin 
the silk, and only dry cleaning can do justice to an article 
finished with artificial silks. 

The colors may or may not be fast, but the thread will 
turn brittle if washed, and melt away. 

Since the demand is rather large for these goods, every 



The Successful Embroidery Shop 91 

up-to-date shop will have to carry them. Now, then, the 
customers must be made to understand the real qualities of these 
threads, and be impressed with the desirability of using them 
on a dark background, something that will not have to be 
laundered. 

Once the public understands this, the shop will not need to 
fear the results. 

Mercerized Cottons. These are not so highly brilliant as 
silk but for general good effects and durability, and easy hand- 
ling, they are most satisfactory. Beside, the lower prices are 
decidedly attractive. 

The proportion of cottons sold is greater than that of silk 
or artificial silk. Hundreds of useful articles, wearing apparel 
and underwear are embroidered with these mercerized threads, 
giving excellent wear, washing well if handled with care, and 
retaining their luster. 

As a general thing, it is always advisable to buy the best, 
and before buying, test the quality of the goods. The testing 
processes are described under another chapter, therefore it 
shall not be handled here. 

A very large assortment of good cotton thread products is 
on the market, and besides size and finish, the style of work 
on which they are to be used must be considered. Again, we 
must offer the suggestion to establish especial brands and carry 
as complete a line as the demands of the locality permit. 

While the silks come, mostly, in skeins, some on cards or 
spools, the cottons come in all these forms, besides in balls of 
all sizes. For embroidery, skeins, for crochet, balls are pref- 
erable whereas spools are most suitable for sewing. 

To display the goods so far trested, sectional glass faced 
cases, which are generally supplied by the wholesaler, if a 
certain quantity of their goods is bought, are best. 

Cottons. Plain, non-lustrous products are used for certain 



92 The Successful Embroider}) Shop 

embroidery and crochet articles, being used for padding and 
for low priced embroideries. 

The remarks on the foregoing threads will also serve as 
a guide for these materials. Their importance is not that of the 
mercerized goods. 

Specialties. Under this heading come all the various threads 
not belonging to any named class. Gold and metallic threads 
known under different trade names, for instance. 

In regard to these threads, we must classify them as washable 
and non-washable goods. The so-called French gold and 
silver threads launder well, also the brilliant metallic thread 
will stand laundering. This latter is a cotton thread metallized 
by some patent process. 

Japanese gold is very bright, but will not launder. 

There are some cords and heavier cottons, such as basting 
thread, or Hercules yarn, which find some employment in 
embroidery. 

To buy these special goods the shop must be decidedly 
conservative, and never lay in too great a stock, for the demand 
is variable and most generally limited. 

TOOLS 

SPECIALTIES, PATENTED ARTICLES, ETC. 

Embroidery, crocheting, tatting, knitting, macrame work, 
lace making and a number of other things which all belong in 
the realm of an embroidery shop demand, beside the materials, a 
number of tools and accessories. 

Such things are either permanent articles or fads. 

Permanent articles are a safe investment, but the specialties, 
patented articles and new fads must be tried first before their 
value can be established. 

The embroideress's tools are her needles, thimbles, frames, 
hoops, scissors, stiletto, etc. 



The Successful Embroidery Shop 93 

The crochet maker's tools are much simpler, being merely 
crochet hooks and scissors. 

The tatting demands a shuttle. 

Knitting, knitting needles, etc. 

Now, all these tools are improved upon by ingenious men 
and women. New ideas are introduced to make the work 
easier and more comfortable. In this case there are these points 
to be considered: Is the new article practicable? If so, does it 
need a great deal of explanation, or is it simple enough to be 
understood by everyone at first glance? If it is not simple, is 
there satisfactory literature furnished by the manufacturer to 
enlighten the purchaser? 

Practicality is to be favored, simplicity is an additional merit. 
Very seldom will it happen that a new, complicated article will 
prove a ready seller. Therefore, the buyer must consider this 
question carefully before closing the deal. 

Under this heading also belong a number of assisting pro- 
ducts, such as Teco forms, Rub-over patterns, monogram outfits, 
alphabets produced in many differents ways. All this material 
is salable, but many are perishable and more of little value at 
all. In this case the location of the shop will be of more 
serious consideration than anything else. Where such articles 
are in demand, you must supply them, and where there is no 
chance to dispose of them without a great deal of " pushing " 
it is just as well to not put them in stock. It is not an easy 
matter to educate the buying public in new ideas, no matter 
how good and useful they are, and unless the shop wants to 
advertise extensively, spending money on such articles, it will 
be better to stay away from them altogether. 

TESTING QUALITY 

In our days of keen competition, the manufacturers of 
materials, mainly woven goods, are often forced to meet prices, 
and the result of this condition is that in doing so, they must 
resort to inferior materials or substitutes. 



94 The Successful Embroidery Shop 

The buyer of piece goods, threads and other textiles, there- 
fore, should know how to test the quality of the materials he 
intends to buy. 

The chief aim of this test shall be, mainly, to determine 
whether a cloth is woven of the same material all through, or 
whether it is mixed. Specially with linens and woolen goods, 
this is of considerable importance, and is closely allied with 
prices. 

The real test is a chemical test, but it is simple enough to 
be undertaken by anyone interested in the matter. 

The testing of wool is done by using a strong solution of 
caustic soda. This can be purchased at any drug store. Take 
the sample of goods in this solution, then put the vessel over 
the fire and boil it for twenty minutes. If the cloth is all 
wool, it will be found perfectly dissolved. If vegetable threads 
are part of the cloth, these threads will remain intact. 

If it is desired to test it from the other side, that is to save 
the animal fibre and dissolve the vegetable matter, use diluted 
sulphuric acid and boil the sample as before, for twenty minutes. 
This will enable one to figure out the percentage of the materials 
used in producing the cloth in question. 

Another simple method is to pull out a few threads of warp 
and filling and burn them separately. The wool will shrivel 
in the heat and smells like a burning feather, whereas cotton 
will burn with a steady flame, giving out very little odor, and 
leaving a gray ash. 

It is easy to determine the difference between cotton and 
flax, by inspecting the material through a microscope. The 
cotton threads will appear flat and twisted, the flaxen, round 
and even. 

Linen goods, when there is a suspicion that they contain 
cotton threads, can be tested by first boiling a piece in pure 
water, then dried. After this, the sample is put into a mixture 
of three parts sulphuric acid and two parts nitrate of potash 



The Successful Embroidery Shop 95 

for seven minutes. Wash the sample in pure water and dry 
by gentle heat. 

When dry, the sample is placed in an equal proportion of 
ether and alcohol. The cotton will dissolve whereas the linen 
will remain untouched. 

Hydrochloric acid dissolves silk, leaving all vegetable and 
animal threads untouched. 

THE COUNT OF WARP AND FILLING THREADS 

Sometimes goods are offered as counting so and so many 
threads to the square inch. 

To explain this, for instance, if a certain fabric is offered 
as eighty square, that means that there should be eighty warp 
and eighty filling threads to a square inch. If an examination 
shows only seventy square, the goods would, naturally, be re- 
jected as not up to contract. 

There are instruments called " pick-glasses " on the market, 
which are generally mounted on %." or Y* stands. In making 
a test of the count, this glass is placed on the fabric and the 
threads can be readily counted. 

Beside these tests, it is necessary that the buyer of textile 
fabrics should be familiar with the different sizings and finish- 
ings of the various materials. This is especially important with 
cotton goods. 

The aim of sizings is to give a better appearing finish to 
the goods, and the sizing mostly consists of starch, or flour, 
and sometimes mineral matter. 

After laundering, this finish will disappear, therefore the 
simplest test is to wash a sample of the cloth and then com- 
pare its appearance with the original piece. 



96 The Successful Embroidery Shop 

TESTING FAST COLORS 

One of the annoyances that try the tempers of fancy goods 
dealers lies directly in the poorly dyed embroidery threads. 
Therefore it is always advisable to put the matter frankly to 
the wholesaler and find out whether or not his threads are 
boil-proof, wash-proof or not guaranteed. 

I might state here that the threads that are not guaranteed 
might give less trouble, if the customer has been duly warned 
of this short coming, than the guaranteed cottons which run, 
in spite of the guarantee, if they are carelessly laundered. 

The test of guaranteed colors is unnecessary, for the jobber 
or manufacturer will have to stand the losses which will result 
from die faults, but this delay will undoubtedly cause the 
customer much annoyance. 

The loss through badly set dyes is quite considerable, for, 
beside the thread, the stamped piece, and the work of the em- 
broideress is destroyed. The only thing to be done in such 
a case is to return the damaged article to the manufacturer or 
to whoever sold you the threads and demand replacement of the 
article. This means that the article itself will be embroidered 
and sent to you complete, or the money is refunded. The first 
mentioned seems to be the more satisfactory proceeding as far 
as the retail shop is concerned. 

Now, if the shop is willing to handle cottons and silks that 
are not guaranteed, than a thorough testing of the material is 
absolutely necessary. 

Non-guaranteed threads, if properly handled, will give just 
as satisfactory results as the fast colors. The secret of laundering 
the bleeding colors is : Do not permit the escaping dye to touch 
the cloth on which the embroidery was done. 

To test these colors it is a good way to embroider some 
small design heavily with the threads to be tested, then put it 
in boiling water and leave it there for ten minutes. Wring out 
thoroughly, twisting the article until it is free from water. 



The Successful Embroidery) Shop 97 

This generally shows whether or not the color is fast. 

If an embroidered piece needs laundering, and you are sus- 
picious of poorly set dyes, do not use any other soap than that 
of the mildest quality, such as Ivory or Fairy. The water 
should be merely luke warm and of soft composition. If rub- 
bing is necessary, use great care, and never let the cloth fold 
over and rub against or touch the embroidered surfaces. 

Rinse the article in running water and spread it out over 
a flat surface, without wringing it even the least little bit. It 
is advisable to have a pad of blotting paper ready, which has 
been covered with a very sheer nainsook or muslin, upon which 
to lay the article to dry. By laying another pad of blotting 
paper on the top of the article and pressing out as much moisture 
as you can by simply patting it with your hands, you will find 
that you have a satisfactorily laundered article. 

If the embroidery is very heavy, it might demand frequent 
changes of the absorbant pads. 

Once the moisture is well out of the embroidery, turn it 
face downward on the pad and apply a mildly-heated iron to 
press it. 

Any embroidery thread which will not stand this handling is 
dyed in the worst sort of dyes, and should, positively, be replaced 
by the manufacturer of the threads. 

After two or three launderings, the surplus die stuff will 
vanish from the thread and it can be handled with less care. 

In the interest of the shop, every opportunity should be 
utilized to impress upon the customers' minds that the launder- 
ing of embroidered goods is a process upon which hinges the 
lasting quality of the work, therefore it should be done 
scientifically. 



98 The Successful Embroidery Shop 

THE ESTABLISHMENT OF A SHOP WITH THE 
LOWEST POSSIBLE INVESTMENT 

It is undoubtedly an interesting question for the people who 
want to start in a new business, to know what amount of capital 
will be needed for their enterprise. After all, anything that can 
be said to satisfy their desire, is, at best, general. That is to 
say, we can only advance a theory to be worked out and tested 
by the individual. 

To give a striking example, I will introduce my friend Paul 
Berger. I became acquainted with him in the Green Moun- 
tains, in Vermont, where Berger was working in a lumber yard. 
I spent my vacations in a smaller town nearby and it was 
through a farmer that I met Berger. From the beginning, I 
was interested in this strong, buoyant, always smiling, singing 
or whistling young man. Indeed, he laughed when he showed 
me his calloused, sore palms and told me how hard it was for 
him to do this sort of work. When I asked him why he did 
not do something else, he assured me that he would as soon as 
he could speak " lille more English." 

A year later when I returned from a long trip in South 
America I found that Berger had liberated himself from slavery. 

In fact, he was the sole proprietor of the general store, 

a horse and a delivery wagon. I at once asked him the rather 
impertinent question : " How did you do it?" And he an- 
swered cheerfully and in fairly good English. 

" It was the easiest thing, you know. Here in this little 
town we have five nationalities: Slovacs, Poles, Hungarians, 
Croatians and German. I speak their languages and under- 
stand, fairly well, what they want. Now, I got $92.00 last 
summer for my hard work, and I invested it in November like 
this: I ordered from an importing house 100 Prayer Books in 
the Slovac tongue at 25c, less 2% for cash, 100 Kassauer clay 
pipes with cherry wood stems and red, white and green tassels, 
at 20c. These were for the Hungarians. I also got some 



The Successful Embroidery Shop 99 

tobacco and a few silver watches. You see, the Christmas 
holidays were coming, and I wanted to be prepared. As soon 
as I got my first stock, which took $72.00 of my whole capital, 
I began to canvas among the people I thought most likely to buy 
what I had. 

" The prayer book was the best investment, for I sold the 
first 100 in a week at $1.00 each. This, of course, was a big 
profit, but the people were willing to pay the money and were 
well pleased. 

" The pipes were different — I sold them at 50c each, but 
had to go down to 35c before they were all gone. Even so, I 
felt rich after my first attempt in high finance. The watches 
sold in two weeks' time, and when I counted up my wealth, 
I found that the investment of $72.00 and my own hard work 
had produced $164.00 inside of two weeks. $92.00 of this was 
clear profit. And I was then ready to begin business on a 
larger scale. 

" When I went among the people, I gained some idea of 
their wants, and formed my new orders accordingly. I suc- 
ceeded in selling 100 more prayer books, and my growing stock 
was offered freely and whenever possible. I did not hesitate 
to cut profits to the smallest limit, for I believe in quick 
turn-overs. 

" Three months of conscientious and hard work has brought 
me $500.00 cash and a stock of reliable merchandise on hand. 
And I decided it was time for me to open a store. This is it." 

Inside of a year, young Berger added a clothing section to 
his general store and all the signs of prosperity began to show 
in and about his establishment. After four years' time, Paul 
Berger was called home and he sold his store for $10,000 cash. 

This example is worth while examining more closely. An 
analysis of the selling power, which brought Berger success, 
will reveal factors which everyone can use to advantage. 

First of all, you must be so full of faith in your own ability 



100 The Successful Embroidery Shop 

and business that you will be willing to invest almost every 
cent on hand in expectation of success. 

Why did Paul Berger buy prayer books in Slovac? Be- 
cause he was sure that the people of that race wanted those 
books, and because he was sure that there was a large profit in 
them. To this we must add work, cheerful, full-souled work 
and then we shall be very close to the point we want under- 
stood. The question: How little is enough to finance a 
fancy-goods shop? 

The smallest capital has power to bring success, just as well 
as the large capital. But, beside capital, a more forceful power 
is needed, a power that will count for more than mere cash. 

Energy, knowledge, self-reliance can be counted as ready 
money, but the business ability, a more subtle sort of force of 
great value, must be on hand to help along the development 
and to direct the above mentioned characteristics in the right 
way. 

It is very plain that if Mr. Berger had bought cook books 
instead of prayer books for his Slovac customers, he never 
would have sold them in such large quantities. This, then, 
stands for knowing the local demands. 

A store located in a section where the ladies do more crochet- 
ing and tatting than embroidery, should provide the crochet 
threads, the accessories which go with this work, and only a 
very few embroidery articles. Right here comes the question: 
How shall I learn what people want? 

First of all, by keen observation, with eyes which are not 
only open, but which see and analyze. A stroll among the 
homes of the people any afternoon in summer might reveal the 
demand for the goods most popular right now. Ask questions. 
If they are cleverly put, the answer is inevitable, but measure 
all advice with calm judgment and be cautious. 

First-hand information on such a vital subject is the real 
information. 



The Successful Embroidery Shop 101 

Put all the knowledge that you gather on paper. And you 
will see that this thing and that thing are articles which you 
absolutely need in your prospective shop. 

The next question is : How much do I need of each ? 

This answered, compare the expenditure with your capital. 
If you have $500.00 at your disposal, and you have already 
spent $200.00 of this for your absolutely needed stock, then go 
easy, because you will have to figure on rent, fixtures and a few 
other unexpected, but inevitable expenditures. If you have spent 
only one-fifth of the sum, then look around and see what at- 
tractive articles can be included in your first selection. It is 
an advantage to make your bow before the public as magnifi- 
cantly as possible. But do not overdo this — a plain simplicity 
is often more ornate and effective than a bunched display of 
cheaper goods. It is best to follow your own tastes in this 
matter, and not do it the way your cousin did it in the State 
Capital. 

The start is really not as hard a nut to crack as it appears 
to be; the difficulty comes when you try to keep it up. This 
difficulty can be overcome or not, depending on the buyer's 
judgment. But the other important factors which begin to 
grow in size with every step must be taken separately and care- 
fully into consideration. 

You simply must know the right prices to charge. You 
buy your goods by the dozen and sell it by the piece. Things 
for which you pay $2.00 a dozen are known as 25c articles. 
Therefore, after having sold the whole dozen, the shop has made 
33 l A% which is, in this case, $1.00. 

There are other prices where the wholesaler and manu- 
facturer have set prices, such as $4.00 per dozen articles which 
retail at 50c ; $6.00 articles which retail at 75c. 

Now, throughout this line of regulation prices, a celver 
buyer will sprinkle in purchases of higher quality, which he 
happens to have on hand, and thus increase the shop's profit. 



102 The Successful Embroidery Shop 

All this will enlighten the reader as to how a successful 
start can be made with a very small capital, but it rests upon 
the ability of the manager to make good. 

To buy well, to make quick turn-overs, to increase the pur- 
chases in the right direction, to make the shop attractive, to 
give the customers a service that will be pleasantly remembered, 
to exercise a strict control and to know how the store's standing. 

I feel confident that those who have read this book with the 
desire to get at the basis of things will find it a correct guidance 
for a start in this business. 

Those who are clever with the needle should prepare their 
own models at the start. This will cut down the expenses, 
beside making them positively familiar with every detail of the 
design. It will be that much easier to explain the method of 
working it after this experience. 

It is highly important that the manager of a new shop 
should be willing and ready to give helpful advice to the 
customer. But this should not be overdone, for the customer 
will get the impression that the eager shop keeper is a " know 
it all." An inveterate talker is a nuisance. I know of several 
such babblers from whom the customers shrink in disgust. 

Cultivate a tact that will tell you when, where and what 
to say to your customers, and they will like you. This liking, 
in connection with reliable products and cheerful service, will 
further your business. 

STARTING A SHOP WITH AMPLE CAPITAL 

When the question of money is easily answered, then the 
opening up of an embroidery shop presents few difficulties. 
But, easy as it is to do a thing, it is not always safe, nor is there 
any reason to believe that ample capital for the beginning is the 
whole consideration. 

A manager who works hard to build up a shop with the 
smallest capital is bound to grow, for he simply must make his 



The Successful Embroidery Shop 103 

business pay and develop into a well-established concern. This 
can be done only when he knows how, for if he has business- 
ability, some knowledge of his subject, and the power to work 
hard, he can't help but succeed. 

Now, with ample capital, this is, in a way, different. That 
spirit of absolute necessity may be lacking, and without that 
there cannot be full force behind the punch. The result then 
is, in most cases, a stand-still, or just making a bare living. 
Therefore, when one invests money in a business, he should 
realize that the shop is a thing of development. To remain on 
the same level is equivalent to falling back. 

This is gone into more fully on other pages, therefore we 
shall deal with the first steps to be taken, in this chapter. 
Quite naturally, we assume that anyone who decides to put 
good money in an embroidery shop is, to a large degree, familiar 
with the needs of such a shop. 

A close study of this book will practically qualify one for 
a good start. 

The question of location comes first. If, indeed, capital 
permits, choose the very best. Nevertheless, do not judge the 
location by the rent and prices, but choose a place where the 
greatest possible number of prospective customers must pass. 
Get a location on a corner where the women go by every day. 
Your show window, if properly handled, will call them in. 

Above all, do not be hasty. Spend some time in quiet ob- 
servation, for once you have signed a lease, it is too late to 
change to a better block. Then, when once decided, just make 
up your mind that you have secured the best place on the whole 
street for your new business and go to it, body and soul. 

The initial expenses, including rent, will amount to a 
considerable sum, in any large town. In smaller towns, or 
suburban localities, they will be less, naturally. 

After you have secured your lease, it is your duty to fit your 
shop up and make the most of every advantage. Daintiness 



104 The Successful Embroidery Shop 

and dignity are of great value. A store of art goods must be 
a good advertisement, in itself. Exercise a great care in select- 
ing your lighting fixtures, and making the most of the natural 
light available. This has a great deal to do with the brilliant 
display of goods. 

The question of fixtures and the wall paper or whatever 
wall finish the shop is going to have is very important. If there 
is a chance, these two should be brought into harmony. The 
advice of an experienced and able decorator might be drawn 
into consultation with advantage. 

Reserve ample room for passage-ways about the shop, and 
whenever possible, provide chairs or stools for the customer's 
comfort. 

The work-room must be out of reach of the customers, but 
near enough for immediate access, when necessary. 

Every art needlework shop finds, sooner or later, the ne- 
cessity of giving instructions. If you have room to spare, a cozy 
corner or a niche to one side will be found very hand for this 
purpose. 

Not luxury, but a certain elegance is the attraction for dis- 
criminative women. A place which harmonizes with their ideas 
of good taste, where they are soothed and stimulated in their 
desire for pretty things, is closer to the ideal shop than anything 
else. 

Next, draw up a list of the goods you want in your shop. 
This seems easy, but it is a mighty difficult thing to plan success- 
fully. Here again we shall give you a few methods, and the 
one best suited to your individual case must be chosen. After 
all, all the roads lead to Rome, and you can't help but succeed, 
if you use good judgment in all things. 

Let us suppose that you are experienced and competent, you 
know the locality and can readily recognize an article of merit. 
In this case, you merely follow out your own ideas and buy 



The Successful Embroidery Shop 105 

accordingly. This is really the plain road, but it requires a 
great deal of experience. 

Let us suppose, on the other hand, that you are a new hand 
and head in the field, and this is what you must do : 

" It is positively necessary that you become familiar with 
those particular objects of art needlework that are in demand 
at this particular moment." 

Your own taste may be very excellent, artistic and discrimi- 
native, but that makes no difference whatever. The great thing 
right now is to please your prospective customers and not your- 
self. Therefore, if you have a pair of ordinary eyes, with not 
a spark of artistic taste in them, you might be a success as a 
buyer, after all, providing you have studied the demands of the 
public, and are capable of keeping up with the evolutions of this 
demand. 

This is not an easy task, either in the beginning nor in its 
further development. A stroll through the best shops and 
department stores from time to time, with a note book in hand, 
a few purchases of the very latest ideas and always with an 
appreciative eye for everything that is going on will be the guide 
for the start. The future developments of the shop will furnish 
the data upon which to build. This data is in the form of 
record cards which has been handled fully in another chapter. 

Now, then, after tiresome days of shopping and making 
notes, the buyer might be in a position to sit down and draw 
up an order. The actual results of the first purchases will tell, 
and if mistakes are made, one must remember that they are 
always the best teachers. 

Another method of drawing up a list of goods to be installed 
in your shop is suggested. This is used with excellent results 
by new shops in small towns as well as new shops in cities. 

If you consult the list of supply houses in this book you will 
see that there are several which handle complete lines of art 
embroidery goods. These houses are manufacturers, importers 
and jobbers, and they must know their business. They are, 



106 The Successful Embroidery Shop 

without doubt, absolutely familiar with the demands of the day 
and have, in every respect, up-to-date goods. 

Select the house which seems to offer you the best for your 
purpose, then write them a letter, explaining that the buyer of 
the Z. Embroidery Shop, which will be open for business about 

the day of would like to inspect their line, and 

would like to have their advice. 

In a short time the traveling man will make his appearance 
and will show you a perfectly complete line of goods. This 
man will be an experienced salesman- — perhaps he has been 
handling that territory all his business life, and knows exactly 
what a store of the size you are intending to conduct will want. 

Make free use of his judgment and ability and let him select 
for you. He will not attempt to over-stock you, for his interests 
and your own are identical. He wants to retain you as a 
customer, selling you more and more goods every year, and there- 
fore it is natural that he shall want 5^ou to prosper. Do not 
hesitate to be frank with him. If you find that you could have 
done better by handling some other house's goods, you need not 
feel reluctant about changing, and refusing to stock up with this 
house. No matter what house you select, in this respect, you 
will hardly have an occasion to be discontented. 

Further steps in the establishment of a shop are handled 
partly under the chapter of General Management, and partly 
under the chapter entitled Selling. 

IV. SELLING 

MEANS OF MARKETING THE PRODUCTS 

* I v HE father of success is system, and nowhere is system more 

■*■ needful than in the selling end of the embroidery business. 

The marketing of a product demands the work of bright, 

intelligent people, to make any business a success. For only 

this type of a sales force will be able to devise and uphold 



The Successful Embroidery Shop 107 

the correct system for the shop. When we consider that the 
very reason for the existence of a shop is to make sales and 
thus profit, we can easily understand that this end is one of the 
important sections, if not the most important of them all. 

However, everything in its place. The manufacturing end 
might justly declare " If I do not produce, the sales lady cannot 
sell," and this is, of course, perfectly true. Therefore, we must 
size up the shop as a whole and its different parts as merely the 
cogs and wheels of the business. 

Some of the small shops have but one person behind all 
these wheels, and their work, is in may ways, more complicated 
than the system which runs a larger establishment where more 
people are employed. 

In the long run, however, it makes no difference, whether 
the shop is large or small, the rules for successful selling will 
always be the same. 

A closer examination will show us that a shop which wants 
to be up-to-date in its selling methods must observe the follow- 
ing ways of marketing its products and wares. These are : 

I. The sale over the counter. 
II. The sale by mail. 
III. The sale to order. 

These methods shall be treated separately, for each one is 
of vital importance. 

It is by no means necessary for a shop to utilize these three 
methods at one and the same time. Indeed not. Some shops 
are in a position to do only counter-business, others have better 
success with a mail-order establishment and the third case may 
be employed by exclusive little shops in the very highest-class 
neighborhoods. The shop, itself, must choose its own method. 



108 The Successful Embroidery Shop 

I. THE SALE OVER THE COUNTER 

There are certain points in the retail business which con- 
front every retailer, no matter what they sell, and these points, 
five in all, will disturb the minds of the store managers, owners 
and what not. 

One point is the question of a good location. This is cer- 
tainly one of the most ticklish questions for the shop to solve. 
It is beyond human power to divine the merits of a certain 
location without giving it a trial. Above all, the question of 
the city and country will arrive. Which is better? Which 
has the greater number of advantages? Is the city merchant 
more prosperous than his country brother? 

When the country merchant comes to town, he looks with 
envious eyes at the steady stream of people patronizing the stores 
and mentally compares this stream with the few and far between 
costumers who enter his establishment. The heavy city taxes, 
the high rent, the enormous over-head charges and the tear and 
wear of this bustle on the contents of the shop never enter his 
head. 

Then again, when a city retailer hears or notices the rapid 
growth of the country stores and shops, when he reads in the 
trade journal that the Acme Embroidery Shop in Midvale has 
moved into its own building, which happens to be an eight story 
office building, in fact, the biggest business block in Midvale, 
then he is apt to sigh. And, considering that he is hardly able 
to keep up with the keen competition in the metropolis, his^sigh 
is justified. 

We will consider the qualifications that point toward and 
promise success in the line of art needlework. 

The ideal location for an art needlework shop is a city 
where the greatest number of the population is feminine, where 
there are children and babies in abundance. This sort of place 
is not as rare as one would think, but while there are many of 



The Successful Embroidery Shop 109 

them, most are in existence only during the summer time. 
Summer resorts, in other words. 

The heavy business period lasts for five, or at most, six 
months, and the rest of the year is dull or dead. 

The rents and living expenses are generally high, but the 
earnings during the season are alluring. 

Many art shops located in towns near such resorts have es- 
tablished branch shops in the resorts themselves, and thus make 
a living the year round. But it must be remembered that this 
involves additional expenses and a great deal of work. 

This arrangement may be considered as the most profitable 
but also the most uncomfortable. 

The next best location would be a progressive country town 
in a growing location, especially if it is close to a large town 
and has plenty of commuters. 

Again, we consider a small town where the shop is the 
only one of its kind, and where, therefore, the entire art needle- 
work passes through the hands of this one dealer. 

A rapidly growing suburb of one of the twenty largest cities 
in the United States. 

Finally, the business district of any large city, provided 
ample capital is on hand to carry the shop over the period of 
establishment of same, and to care for unexpected emergencies. 

i. The Resorts. 

The principle of any summer resort is : Make money quickly. 
The idea of making money honestly, but making it in spite of 
everything, is quite evident. The reason for this tendency is 
the fact that the customers are transient. Most of them stay 
for a short time only, and the business of these people is to find 
pleasure while they are there. Most of them come with well- 
lined pockets fully expecting to leave even the linings behind. 
They simply tempt the merchants to raise the prices sky-high, 
for they pay any price cheerfully, providing they want the 
article. 



1 1 The Successful Embroidery Shop 

Therefore, the wares offered to this class of customers must 
be selected with special discrimination, large variety, showy 
pieces and things which eventually find immediate use, are 
preferable. 

It is a fact that the women visiting these resorts do a great 
deal of needlework, crochet, etc., therefore the business will be 
good. 

2. The Progressive Town. 

In selecting a progressive town in a growing location for 
the establishment of your needlework shop, the so-called 
" Boom " towns must be avoided. The reason for this advice 
is that in such places, on account of inexperienced dealers in 
the retail trade, a certain demoralization is bound to come. Such 
a town is in formation; most of the new business men are in 
business with the idea of reaping large and rapid returns. They 
are not experienced buyers, therefore they are liable to overstock 
their shops; they do not know the right values, and will de- 
mand high prices, which, as a matter of course, will tend toward 
the demoralization of the trade. 

The result being forced sales to get cash and when this 
occurs, business is at its worst. 

A real progressive town, with affairs settled and sound 
business principles established, is a very commendable location. 

3. The Small Town. 

A town with a few thousand population often presents a 
very favorable location. The first commer in the art needle- 
work line will practically establish a monopoly and competition 
is shut out. Such a field is of course limited, but sure. 

The further advantages are low taxes, low insurance rates, 
low rents, the fact that it is not necessary to spend heavily on 
advertising. These all make selling expenses low. 

Against these things, one has to consider that the area from 
which to draw trade is small, the number of customers limited, 



The Successful Embroidery Shop 1 1 1 

and the neighborhood trade is uncertain on account of possible 
crop failures. All in all, there is not much chance to develop 
over a certain yearly turn-over. 

4. The Suburb. 

The suburban trade is generally good and steady, with good 
chances for growth, but the shop keeper has to face the com- 
petition of the large special and department stores in the city 
adjacent. 

The advantages of a shop in the suburbs are the nearness to 
the market, which enables the owner to buy close and make 
quick turn-overs, and therefore is able to watch the market 
closely and take advantage of opportunities. 

Since all the sales are for cash, a small capital will cover 
the outlay. Those who realize the value of good advertizing 
and can make it unique and with a home appeal, have a chance 
to make enormous profits here. 

The petty competition that generally comes up in suburban 
localities is the worst enemy of these shops, especially if the 
competitor runs a family affair, which does not involve salaried 
clerks, etc. 

But ingenuity, good refined taste and good management can 
generally deal successfully with this sort of competition and 
establish a steady, growing business. 

5. The Business Center. 

People who have succeeded in building up a successful shop 
in down-town business districts, without a large capital back 
of them are real wonders — as rare as white ravens. Many 
have made the attempt and almost all have failed. 

In such a location, the main attraction is the volume of trade 
at hand. There is also an opportunity for quick turn-overs, 
and rapid realization of cash. 

But it is absolutely necessary to make a certain number of 



1 1 2 The Successful Embroidery Shop 

sales every day to be able to fulfill the many-sided obligations 
that must be answered as each day's sun goes down. 

Unless you are an expert in the conducting of an art needle- 
work shop in such a locality, and have acquired practical ex- 
perience in one of them, it is much better to refrain from under- 
taking the management of such a shop. Any of the above men- 
tioned localities offer a safer and easier existence and opportunity 
for you. 

Once the question of locality is settled, the store or shop 
established, the selling end will be the main factor of the shop's 
existence. 

THE PRINCIPLES OF MAKING PRICES 

The prices of every article must be estimated in such a way 
that there shall always be a reasonable profit after the sale. 
Just what this profit should be is a private question, and every 
shop must establish its basis of pricing goods on its own ex- 
periences and, above all, expenses. 

Let us suppose that the yearly turn-over of a shop is $io,ooo. 
The rent is $500.00 for a year, and the expenses for help and 
other necessary investments is $1,000, then the $10,000 should 
represent an actual cash value of $6,000 to $6,500 for the year. 
Thereby, a profit of $2,500 or $2,000 is shown. Which, of 
course, means 25% or 20% clear profit. 

Now, then, to arrive at the right figure in the selling price 
of an article, we might first study the result of the entire year. 
The expenses and the profit amount to $4,000 or $3,500. 
Well, to make the 20% profit, we must add to the cost price of 
every article 35%. 

This would show the following result in actual practice. 
The article which costs the shop $1.00 must sell for $1.35, and 
the article costing $10.00 has to be sold for $13.50. These 
figures are given solely as examples, to be sure, and in many 



The Successful Embroidery Shop 1 1 3 

cases it will be found that 35% is too high a percentage — while 
some localities will demand even higher profits. 

A law cannot be laid down in this case, for it is individual 
in every respect and must be determined by the individual. 
Here are given the ways to arrive at the right percentage. 

The chief aim should be to make a distinction between the 
ready made article, on which no further work is to be done, and 
the semi-made goods or the goods which are made up in your 
shop. 

The latter articles are calculated according to the rules 
given under the head of Getting Ready to Produce, and as it 
was pointed out, the price is fixed after the cost has been es- 
tablished. 

Now, there are certain cases where good judgment will be 
worth untold money. A good merchandiser will see the value 
of an article at glance; whenever he finds an article which 
appears to be a 50c seller and which, in reality, permits a sale 
price of 35c, with good profit, the 50c price will be found the 
best. 

All in all, it is very hard to keep the average percentage in 
fixing the prices. Especially where a lively competition is en- 
countered. In this case the merchant must balance his profits 
to meet the desired percentage. Quick turn-overs with low 
profits will at the end of the year show good results. 

For anyone who is interested in shop-keeping, it is of great 
advantage to keep records of every cost, sale, time, and profit, 
for only by knowing all these details can one put the financial 
end on a solid basis. 

The articles sold by the manufacturers in dozens or grosses 
are often priced so as to regulate the retail prices. To give an 
example: tinted table covers, wholesale, at $5.50 per dozen. 
This price will make the cost of a single cover about 46c. It 
is sold at 75c, showing a profit of 29c on a 46c purchase, which 
is very promising. 



1 1 4 The Successful Embroidery Shop 

But, great as this seems, one must take into consideration 
the time element and not forget that the article in question 
might lie in the shop for a long time and, in that case, the goods 
might deteriorate, besides, the proportion of profit will dwindle. 
Then, there are goods which get shop-worn, slightly damaged 
or get out of fashion, etc. Therefore, it will be found advis- 
able to revise your prices from time to time and to revise them 
so that a quick-turn over or a healthy circulation shall charac- 
terize the activities of the shop. 

In many cases it is much better to lose the profit and clean 
out that particular stock, turn the goods into cash, rather 
than let them get stale. In the end, such goods will sell at a 
loss, anyway. 

All in all, the question of prices is an important one and 
demands keen judgment and good business ability. It is well 
to remember the proverb : " The wise revise." 

AT THE COUNTER 

The heart-throbs of a shop are its sales. These are the only 
means by which the shop can live; nothing else can take their 
place. A retail business without steady sales is as absurd as the 
running of a steam engine without fire. 

When a customer enters and makes her request for certain 
articles, which the clerk supplies, it is the sales person's duty to 
call attention to other articles in an inoffensive manner. By 
using tact and good judgment of the customer's wants, any 
clerk can interest a customer in other objects in the shop. This 
is all very well, but for the sake of future business, do not over- 
do it. The customer herself knows what she wants and what 
her means permit her to buy. Merely introduce the goods and 
let her own judgment do the rest. 

There are many books written about salesmanship; it is 
taught in schools, yet the foundation of this subtle art is of such 
a slippery quality, and so varied, that it is almost beyond power 



The Successful Embroidery Shop 1 15 

to put your finger on it. Probably the best definition is 
personality.- 

Some people have a charm which invariably appeals to custo- 
mers. It is in the speech, in a friendly smile, in an attentive 
manner. It is impossible to tell you how to acquire this tact 
and charm, but we can advise you to be your own self and culti- 
vate a pleasant manner, and, above all, know what you are talk- 
ing about, and know when to quit talking. 

Too much talk is positively harmful, and distasteful to the 
customer. Too little talk indicates a lack of interest in your 
sales. 

The main idea is this: whenever a customer enters your 
shop make your best effort to treat her so that she will return 
whenever she wants anything in your line. How this is to be 
accomplished is your own task to solve. 

There are two broad divisions in retail selling: reaching 
out for trade and attracting the customers to your shop. And 
the handling of the trade, the satisfying of the customers whom 
you have attracted are not the least important items of these 
divisions. 

The reaching out for trade is done by: 

Advertising, 

Circularizing, 

Price lists, 

Personal solicitation, 

Display. 

As far as advertising goes, the art embroidery shops are 
particularly well situated for being in a position to let the jobber 
and the manufacturer do their advertising for them. 

Almost all large wholesale concerns which cater to the 
shops have prepared advertising matter for the retailer, on 
which they print the name and address of the store. This 
literature is supplied free of charge, because the wholesaler 
reaps his reward in proportion to the advertising done. 



1 1 6 The Successful Embroidery Shop 

The psychology of this free advertisement is very simple and 
there is hardly a set-back to it, as far as the shop is concerned. 

The manufacturers sell certain goods to the store and supply 
the advertisement sheets. Their desire is to help the store sell 
more of their goods, thus enabling the shop to buy more. The 
package goods are especially well advertised. Not only that 
the shops receive literature, but the goods are advertised in 
various high-class magazines, thus creating and upholding this 
demand. 

Package goods, therefore, are desirable merchandise. The 
prices are rather attractive and the advertisement is worth while. 
It aims, mainly, to advertise certain brands of embroidery and 
crochet threads, and quite naturally, those threads must be kept 
in stock by the shop. 

This sort of advertisement will take care of itself. The 
more serious work in these lines will first appear when local 
newspaper advertising is considered. 

Right at the start, it will prove very valuable advertising 
to inform the public that such and such an art needlework shop 
has opened for business. Then you must plan on advertising 
more and more, making special features, sales, if you please and 
any other means by which you want to invite the general public 
into your shop. 

By securing good job-lots, it is often possible to offer 
splendid bargains, and you must utilize every such opportunity. 

The matter of advertising copy is a serious matter. It must 
have personality behind it, and unless you can write forcefully, 
in a simple, convincing manner, it is much better to turn to 
some agency or advertisement writer. 

The product of these services is a tested advertisement, 
whereas your own composition is not. An experienced ad 
writer knows just what to say, and your advertisement will be 
more or less of an experiment. 

Advertisement by circulars is almost a neglected art. In 



The Successful Embroidery Shop 1 1 7 

general, it means to stimulate the trade by sending out circular 
letters to a list of customers. It is a much more personal form 
of advertising, which, if it is carried out well, should bring 
satisfactory results. It is salesmanship via the pen or typewriter, 
and should be used as such. Cheap circular letters, without 
typewritten address at the top, and signed by your own pen at 
the bottom, are in most cases an absolute waste. What you 
want to do is to make your circular a personal appeal. 

Some people who are very able sales persons behind the 
counter fail altogether in this circularizing advertising, because 
they cannot apply the personality touch that is so vital in this 
correspondence. 

To be able to circularize, the shop must build up a list of 
customers. In smaller communities this is an easy matter, but 
in larger cities it needs special attention. The city directory is 
often of use, but the very best way is to become acquainted 
with the people who come in to buy, and get their names and 
addresses. 

Watch the returns of your circularization efforts closely 
and learn its immediate effects and pulling quality. For, after 
all, everything you do must teach you something of value; 
teach you what things to do and what things to leave undone. 

Some shops have very successfully applied the distribution 
of price lists. If you have goods of unusually good value and 
of attractive quality, the price list will be sure to invite the 
public to your shop. After all, bargains appeal to everyone, 
and by this means new customers are easily gained. Then it 
is up to you to see that the new customers are converted into 
steady customers. 

A personal solicitation is sometimes a very valuable means 
of advertising in smaller communities, especially at the opening 
of a shop. Very few people have attempted this, yet if it is 
done in the proper form, it cannot fail to attract customers. 



1 1 8 The Successful Embroider}) Shop 

The result of these calls, naturally, rests with the personality 
of the caller. 

Finally, display advertising must be taken into consideration. 
This method is, if anything, the most important means of 
invitation. It will have far-reaching effect and should be given 
special study in order to make its appeal as irresistible as possible. 
On account of its importance, display advertising will be taken 
up again in a later chapter. 

SALES BY MAIL 

Fifteen years ago the mail order business was a new under- 
taking. Today, it is a splendidly developed giant. The suc- 
cess of selling by mail is mainly due to the publicity of today. 
To succeed in this attractive business, you have to advertise. 
Advertising is expensive, but profitable, if well conducted. In 
many mail-order businesses, the advertising expenses are the 
greatest items. 

In advertising for business, it is very important that you 
follow up the results of the advertisement to the point where 
you are satisfied that the inquiry was not the outcome of curi- 
osity, but the outcome of a desire to buy. 

It is clear that any shop which wants to enter the mail-order 
business must have a catalogue or some other adequate literature 
which show and describe the goods offered for sale. Without 
this, a mail order business cannot exist, just as a wholesale house 
could not exist without samples. 

There is a vast difference between regular newspaper ad- 
vertisements which invite the trade into your shop, and mail 
order advertising. In the latter, your aim is to interest people 
to such an extent that they write to you and ask for further 
information. Therefore, a short advertisement, right to the 
point, might do more than a larger space would. 

The advantages of a mail order business are great, but the 



The Successful Embroidery Shop 1 19 

main advantage is the fact that it is not confined to a small space, 
but is a nation wide undertaking. 

Fortunately, the art needlework shops do not handle bulky 
stuff, and all their sales can be handled through the parcel post 
service. Thus the shop located in the east can readily supply 
the demands of the people in the far west, or vice versa. 

In establishing a mail order department, the shop must keep 
very accurate records of this end of the business. It is a good 
way to keep it altogether separated from the regular business, 
handling it all by itself. 

A card system for the names of the inquirers and customers 
is invaluable and the easiest to handle. In this way, the card 
that is made out for the person who writes in for information 
can easily be transferred to the customers' file box when an 
order is received. Make notes of every single order that comes 
in, and your records cannot help but be straight. 

This system gives an additional advantage, for it means that 
you have two mailing lists — prospective customers and custo- 
mers. It is very often advisable to send two different sorts of 
literature to these two elements. 

Knowing the importance of the advertising expenses, you 
should make an effort, from time to time, to learn just how the 
accounts stand. Which advertisement proved more alluring, 
and which paper or magazine. This means, naturally, that you 
should keep track of the source of the inquiry, and a key letter 
or number will help you here. By this we mean that if your 
mail address is 742 Springfield Ave., Springfield, Mass., your 
advertisement should read : 

" Address 742 — A Springfield Ave., Springfield, Mass." 
The " A " is the key letter in this case, telling you that the person 
inquiring about your goods read the advertisement in the 
Modern Priscilla. 

The surest way to hold mail order customers is to give 
quick, accurate and honest service. The customer must not 



120 The Successful Embroidery Shop 

only be pleased with what he receives, but he must be convinced 
that he has made a satisfactory bargain. 

Any correspondence relating to mail order business must 
be handled in a cheerful, friendly and approachable manner. 
Show the customer your good will at every turn ; convince him 
that you intend to treat him squarely and more orders will be 
the result. 

All in all, a mail order business is worth while and is a 
mighty lucrative business, but there are a number of details 
connected with it that demand time, thought and hard work. 

The question of the catalogue is also an important factor 
for the beginner. It is better to have a small and attractive 
booklet, than a cheap, unattractive volume, and this is a proven 
fact. 

Here, as elsewhere in art needlework, the manager of the 
shop must remember that embroidery belongs to the industrial 
arts and handle it accordingly. 

THE SALE TO ORDER 

One of the most lucrative departments of a shop is that 
which takes care of the special orders. This deparment demands 
special service, ability to design and to plan articles which are 
essential, and a well developed taste for effects. With these 
qualities, a splendid business can be developed, which does not 
require heavy investment. 

These advantages are worth while investigating. 

The shop which can command the above mentioned qualities 
must make every effort to convey this fact to the public. Again 
we reach the point where advertisements play an important part 
in our endeavor. But, in the case of special sales, a more 
personal method of advertising is generally more remunerative. 

A neatly engraved card with the name of the shop and a 
list of the various functions is of great value. These cards can 
be sent out by mail, kept on a tray in the shop for the customers 



The Successful Embroidery Shop 121 

to take away, and by including the card with the purchase. In 
this way a large number of people can be made aware of the 
fact that the shop is capable of filling special orders. 
Following is a suggestion as to the text of a card : 

The Corona Art Needlework Shop 
We specialize in planning and designing artistic trous- 
seaux; embroideries to fit the homes. We can supply de- 
signs for daintiest lingerie to the most substantial hangings 
and draperies for the home, can stamp these on whatever 
material you desire, and carry them out in the best style 
of art needlework. 
Monograms and initials are designed and executed. Etc. 

When going into this part of the business, it is best to have 
a large number of designs on hand from which to choose. A 
book should be made of these, and so arranged that they are 
easily found. In most cases these designs will only serve to give 
the customer an idea of what she really wants. Quite often 
it will be necessary to visit the prospective customer's home and 
offer suggestions as to color effects and harmonious embroidery 
designs. 

Wall papers will quite often suggest ideas for the designer 
but good judgment must be used in utilizing these suggestions. 
The style of furniture, the period design must, of course, be 
given proper consideration, in order that the right tone can be 
maintained. 

Besides this, it will be a good idea to consider the tastes of 
the customers, for, after all, she is the one to be pleased. 
Should she insist upon a rococo design for her Dutch Hall, it 
is better to let her have it, after a tactful explanation, than to 
refuse to work against your own convictions. 

Above all, whatever work you undertake along these special 
lines, you must be sure that the design and the workmanship is 
first class in every way. 



122 The Successful Embroidery Shop 

Anyone who can afford to order an outfit for an entire room 
can generally afford to pay high prices for the same, and a shop 
should never hesitate to charge enough to pay for services and 
artistic ability. 

The monogram and initial designing and stamping should 
be of great general benefit to any store. This service will also 
involve stamping to order. The stamping, in most cases, will 
consist of stamping designs on materials furnished by the custo- 
mer, or, it may be, bought in the shop. Very often such designs 
are combinations made to suit the customer. The charges for 
this sort of service will be in accordance with the time consumed 
and always liberal enough to make it worth while. 

For the benefit of the shops, we shall explain here the VON 
folding method of placing and combining design fragments into 
a harmonious whole. 

This folding method is a very excellent guide for the 
stamper, and by following its rules a correct and well balanced 
arrangement is assured. The principle of folding is as follows: 

Take your material and fold it as shown in figure I, creas- 
ing it to produce a well defined line on the goods. By calling 
this the A-A line, we shall be able to explain things simply. 
The result of this operation is shown in figure 2. 

This folding divides the stamping surface into two equal 
parts. By folding across the A-A line, taking good care that 
this line shall exactly bisect it, we get the B-B line. See figure 3. 

We have gained four sections. Quite often this will be all 
that is needed, but not always. At this point the character of 
the article to be stamped will decide our further actions. 

For instance, if we intend to combine a center piece, we 
shall make the fold as shown in figure 4. If a cushion cover 
is in question, we will get better results by folding as figure 5 
indicates. In case of a centerpiece (fig. 4), we shall have 
divided our surface into 8 sections. In the event of cushion 



The Successful Embroidery Shop 



123 



(fig- 5)> into four, but both these divisions are of different 
character. 

Figure 4 is central, and figure 5 is parallel. 




Figures 6, 7 and 8 show the principle of further foldings 
which might be useful in small and intricate repetitions. 

The use of the folding lines is very simple. 

The center line is always sure and the distances can be 
measured from that line by a tape or rule. By carrying this 
over to the other folding lines, the stamper can always place the 
pattern correctly, no matter what sort of design is used. 

Even in placing monograms or initials, the folding line will 
be found handy as a guide. 



124 The Successful Embroidery Shop 

THE VALUE OF ADVERTISING 

The value of advertising lies with the right selection of the 
advertising mediums, newspapers, magazines, or what not, and 
the right wording of the advertisement itself. 

Once the advertisement is put over successfully, the value 
will rest at least half on what is behind the publicity. An 
advertisement that promises a great deal is of little value if 
those promises are not kept. 

When a shop advertises bargains and there are no bargains, 
the customer naturally feels cheated, and she will not pay any 
attention to your advertisement again. Therefore, the truth, 
the facts, actual values and conditions must be represented as 
they are. Any deviation from this rule will result in disaster 
for the shop. 

It is understood that bargains are a fine inducement to bring 
customers into your shop, but if you extend this invitation, you 
must prepare the bargains. In another portion of this book, 
the methods of securing such goods is fully explained. Once 
a shop has them, then is the time to invite the public. 

Variety and the knowledge of the season's demands, beside 
the caprices of Queen Fashion, should be expressed in the shop's 
advertising campaign. With these ideas leading, the advertiser 
will reap the returns of the investment. 

Under any circumstances, the shop which advertises right 
will far outsell a competitor who does not advertise correctly. 
But, advertising will rest with the locality of the shop, to a 
great extent. In a large city, where many embroidery shops 
are located, it would hardly pay to spend money in one of the 
large dailies, providing you are located in the suburbs. If you 
are centrally established, such an advertisement will reap rich 
harvests. 

Every business enterprise of today demands advertising, but 
the efforts will pay only when our advertisement is placed where 



The Successful Embroidery Shop 125 

it will do the most good, and in the form which best suits the 
case. 

THE CARE OF THE SHOW WINDOW AND 
COUNTERS 

The very best advertisement for a local shop is its show 
windows. Then comes the artistically arranged counters. 

The windows should be the reflection of the shop's goods. 
If you have the good taste to arrange the window display in an 
attractive and inviting way, you have a great asset, indeed ; it is 
almost impossible to give rules for window dressing in such a 
short space as this, but there are a few important points which 
will aid an ambitious shop keeper in her artistic endeavors. 

The main consideration in window dressing is to catch the 
eye of the passer-by. Therefore, the embroidery shop's windows 
should be sufficiently large to have a base for display and a 
background to divide the window from the shop proper. Other- 
wise, the articles displayed in the shop will distract the eye from 
the objects in the windows. 

This background is of a great importance, for it serves to 
bring the articles out in a pronounced manner. There are two 
ways to do this, that is to say, either by harmony or by contrast. 
The first will be a complete blending, more artistic, but less 
effective in pointing out the displayed articles. 

Probably the best effects can be produced by looking upon 
the window space as a picture of still life and then arrange the 
foreground and the middle with due consideration to the 
background. 

The famous still life pictures by old masters are fairly well 
known, and a window dresser can hardly choose a better example 
to follow than one of these old paintings. The easy, natural 
grouping is what gives so much charm to these works of art, 
and an attempt to follow this style will result in something far 
more attractive than a helter-skelter arrangement of your goods. 



126 The Successful Embroidery Shop 

A neatly arranged display is never over-crowded. The 
attractions of a few articles are accentuated by space. A littered 
window is directly repulsive and not up to the standard of a 
shop dealing in artistic products. 

The customer likes to see the processes by which certain 
things are made. This often gives an opportunity to show 
people the methods of some work, either old or new. A display 
based, for instance, in explaining the fancy stitches will always 
attract. 

When a new fad comes out, make use of it in your display. 

Change your display from time to time, using finished pieces, 
the materials, silks, art silks, cottons and what not in your 
schemes. 

The lighting of display windows is very important. Above 
all, do not stand for fixtures which reflect the light squarely 
into the beholder's eyes. The light should be concentrated on 
the objects displayed and, if possible, shielded from the outside. 
It is good to draw the curtains to half height, at dark, to close 
out the light which might come from the store proper. 

It is generally thought that movement of some sort in a 
window display has more pulling power than a passive display. 
This is the reason for the many mechanical toys and devices. 
This is also the reason why demonstrators are installed in 
windows. It is hard to pass judgment on this sort of window 
display, but, at any rate, it is not exactly dignified. 

After the window, the counters are the most important 
places to display goods. If space and money permits, glass 
counters are the best for the shop. Here, as in the window, 
artistic arrangement is of importance. Unfortunately, many 
stores cannot consider their counters as display centers only, for 
they must serve as place to hold stock. 

At any rate, the most attractive pieces should occupy the 
foremost section in the shop. Use good judgment in arrange- 
ment, and consider practicality as of paramount interest to you 



The Successful Embroidery Shop 127 

and your help. Utilize some certain system of arrangement 
which will make each article easy of access by both the shop 
keeper and the customer. 

Absolute cleanliness and order among the goods are highly 
important. 

In the line of stamped goods, specially those which do not 
demand embroidered models, it is best to put away all except 
the single article of each design, for they soil too easily and the 
stamping very quickly deteriorates if left exposed. 

Before closing the shop in the evening, the counters should 
be straightened, the stock packed away, and a muslin sheet placed 
over the perishable goods. 

WHAT MAKES A SHOP ATTRACTIVE 

We have described all the mechanical means which tend 
toward promoting the interests of the shop, which are all very 
important, and which are for the sole purpose of impressing the 
public and making good, steady customers of them. There is, 
however, one more phase, which rests with the individual shop 
keeper, her own personality and that of her sales personnel. 

All the above mentioned arrangements and devices in the 
most perfect condition will be, to a degree, unavailing, if there 
is not that pervasive personal touch given to it which comes 
direct from the management. This is not friendliness and 
pleasant manners alone, but a great deal of discipline and a 
thorough knowledge of meeting people, their wants and then 
some. 

And this " some " is probably more important than the 
average person thinks. 

" The willingness to teach people and the tact to teach in 
such a way that they do not realize that they are being taught." 

A very hard task, indeed, but once mastered, it will be 
found invaluable. 

The character of the art needlework business is such that 



128 The Successful Embroidery Shop 

through the changes of fashions and through the innovation of 
new ideas, fads, there are always things on hand which will 
appeal to the average public, if only they are introduced properly. 

This means an opportunity for the demonstrator, whom we 
see nowadays in every large store, always surrounded by women 
eager to learn a new stitch. 

Any small shop can follow this example, if the manager is 
a person of tact and knowledge. This quality of giving cheer- 
fully of any new idea or stitch is a pulling power which, in 
combination with the other attractions of a shop, makes the 
place a gathering place of ready money and cheerful buyers of 
all classes. 

V. BUSINESS MANAGEMENT 

J" T NDER this chapter shall be enumerated those duties which 
^-^ fall to the manager of a medium size shop. Here will be 
found the answers to troublesome questions in connection with 
adding or deducting the prevailing differences. 

First of all, it must be understood that system is the father 
of success and whether a shop is but a single arrangement or 
whether it hires a number of helpers, it makes no difference. 

The duties of a manager are manifold: either she has to 
carry along the daily routine personally, or to see that it is 
followed carefully by the hired help. 

The medium size embroidery shop has to handle the follow- 
ing questions: 

The hiring of help. 

Advertising for help. 

The question of salary or wages. 

The outside workers. 

The supervising of the work in general. 

Correspondence. Bookkeeping. Keeping records of various 
sorts. Price marks. 



The Successful Embroidery Shop 129 

The turn overs. 

The stock and stock taking. 

A great deal depends upon the successful handling of these 
details and its results are close to success or failure. 

Since each item is of vital importance, we shall handle them 
separately. 

HIRING HELP 

The establishment which wants to perform good and satis- 
factory service to themselves and the buying public, must have 
good help. 

To be in a position to conscientiously select men and women 
for this purpose, the manager must have good judgment in 
sizing up people from the human standpoint, and an intricate 
knowledge of the business in order to ask the proper questions 
and learn, from the answers, just what the applicant's qualifi- 
cations are. 

In many cases the best and safest way is to undertake the 
rather hard and often not profitable task of training the shop's 
help. The advantages of this method outnumber its disad- 
vantages. When one hires the person with this intention, the 
main factor in the case is invariably the character of the applicant. 

However, there are times and occasions when the manager 
cannot afford to do this training. In this case, careful question- 
ing and investigation of past records must be very thorough. 

In the art embroidery business, as well as in every other 
undertaking, one must consider an important point. Every 
business has its own particular points. Methods developed with 
care and certain tricks of trade, probably originated entirely in 
that particular shop, not exactly secrets, yet almost such, mental 
property, let us say, are most valuable and must be guarded 
zealously. It is plain that an employee trained in that shop 
will learn all these trade secrets, and perhaps, some day, a chance 
will come for her to make use of them. Hence, by training a 
girl, the shop must take a chance. 



1 30 The Successful Embroidery Shop 

However, since every other shop is in the same predicament, 
this point should not be considered overly important. 

On the other hand, this very fact is but a natural evolution 
and such employees who, beside getting their pay, are permitted 
to learn the trade secrets, are generally steady and will prove 
more faithful in the long run. 

The means of securing help are varied. We shall handle 
the three chief mediums, which are advertising, securing 
help through employment agencies and — finally — answering 
advertisements. 

ADVERTISING FOR HELP 

The classified columns of the newspapes are the mediums 
which bring quick results. 

Of course, when specially trained help is needed, one gen- 
erally has to go to the great labor markets to secure it. But 
when the need is for untrained workers, they can be secured in 
even the smallest country towns. 

This latter kind help does not need special care, for any 
advertisement which states the sort of work to be done will bring 
results. But careful handling of the matter is necessary to 
bring trained help. 

There are two distinct ways to advertise for trained help, 
the direct and the blind advertisement. In the first case, 
the name and address of the firm are given — in the second, the 
answers will be delivered to a box either in the newspaper 
office or at the post office. 

Outside the great industrial centers, the shops might freely 
advertise under their own names, for it is not likely to create 
trouble in case changes are contemplated in their present em- 
ployee personnel. But, in or near a metropolis, it would be 
better to use the blind advertisement. 

Let us consider the sort of trained help a shop might need. 



The Successful Embroidery Shop 131 

According to the size, the following openings might occur in 
a shop: 

Designer and perforator, stamper, cutter, embroideress, sales 
lady, demonstrator, etc. These are, in a way, direct producing 
elements. In larger establishments: buyer, manager, traveling 
salesmen, bookkeeper, stenographer, and sometimes an advertis- 
ing man. 

These important positions need the careful attention of the 
business manager. 

It must be understood that many shops, the small shop of 
one-man character, for instance, will never have occasion to 
enter this field, nevertheless, to give the proper idea, we must 
take a shop of greater capacity as an example. 

Let us say that the Leander Art Shop of Elyria, Ohio, has 
inserted this advertisement in a New York paper : 

11 Female help wanted. Sales lady well versed in art 
needlework, one who is a practical needleworker, pre- 
ferred. Give full particulars, salary wanted and references 
in first letter. Leander Art Shop, Elyria, O." 

Whether the answers be few or many, a thorough scrutiny 
of the letters must be made. The style, the handwriting, speak 
for themselves. The contents of the letter come under another 
consideration. 

The applicants who are not satisfactory can be eliminated 
easily enough. Those which are most promising call for further 
correspondence, and even if the references are satisfactory and 
the general style of the application pleasing, it is always best, 
if possible, to arrange for a personal interview. When this is 
beyond question, a business friend in New York might be pre- 
vailed upon to interview the applicant. 

If, however, this is not practicable, either, then it is best 
to arrange a trial term of service, so that both parties may be 
perfectly satisfied. 

In a personal interview, an employer has the chance to fully 



1 32 The Successful Embroidery Shop 

investigate and above all, to get impressions which will often 
go very far. 

In putting questions to an applicant during an interview, 
there are two ways to proceed. One is to throw the whole 
burden on the applicant, letting her make the case clear. Under 
these circustances, the applicant will be in the dark and will 
not have time to frame up a story to fit the case. Also, there is 
a chance to introduce questions during the development of the 
interview which may be suggested by the applicant's recital. 

Such an interview is generally a hit-or-miss affair, and will 
call for keen judgment and good memory of details before told, 
to make a quick decision. 

The second method is to question the applicant yourself and 
by this, force her to follow a systematic line of information. A 
memoranda of the questions could be made beforehand, and the 
answers jotted down opposite the questions, as asked. Begin the 
questions by asking age, nationality, education, experiences, etc. 

During the interview, there is a chance to size up the appli- 
cant's appearance. It is unquestionably of great advantage to 
have neat and pleasing people in your employment. Not that 
this external quality has any influence on the capability of a 
sales person, but for some reason it is human nature to prefer 
a pleasing person's services, rather than otherwise. 

Personality, however, in the sales person, goes farther than 
beauty. 

When the employer has decided to employ the applicant, 
then the question of salary is broached. Do not expect to get 
expert help for small wages — for you cannot, unless you have 
trained it yourself. Settle the time for the new employee's 
appearance in your shop, and everything is ready for action. 

The breaking in of the new employee is of great importance 
for her future development. The ideas a new hand gets in a 
new place during the first few weeks are liable to make a lasting 
impression. Therefore she should be started in the right di- 



The Successful Embroidery Shop 133 

rection from the first. Introduce her to her work properly and 
to her fellow associates, if there are such. 

Under any circumstances, it is better to make a new position 
appear more difficult than it is, than to have it look too easy. 

The securing of help through employment agencies is, in 
its principal points, similar to the first mentioned. The main 
difference being that, with the agency, one is in the position 
to look over a larger number of applicants, and at once. 

Of course, many object to agencies, for the reason that any 
one who is unable to market her services for herself is of not 
much account. But this argument will not stand up, under all 
circumstances, and the agency is able to command quite good 
and reliable help. 

The last method, that of answering advertisements listed 
in the " Situations Wanted " columns of the newspapers, can be 
handled by any or all of the above mentioned methods — they 
are reliable and sure. 

THE QUESTION OF SALARY OR WAGES 

In a shop which hires two sales persons, a bookkeeper, a 
stamper, a designer and two needleworkers, for example, there 
is a heavy inroad on the capital and the question of salaries must 
be very thoroughly understood. 

It must be realized, right from the start, that sentiment 
is not a business asset. The employees are in the business for the 
profits just as much as the shop is. Hence, the safest method of 
keeping good help is to pay them what they are worth. No 
more, but no less. It is a hard matter to establish correct 
valuation of certain services. 

To this class belong the designers, and happy is the manager 
or owner of a shop who can do her own designing. There is 
a chance to save a great deal by acquiring a working knowledge 
of this art, providing the signs of talent are apparent. 

Then take the semi-producing employees, those who do 



134 The Successful Embroider}) Shop 

not bring in the money directly, such as errand girls, stock 
keepers, etc. 

Considering the fluctuation of the scale in the different 
localities, it would be impossible to even suggest a grade of 
wages upon which to base an example, but one thing must be 
understood, and that is that the shop manager must know ex- 
actly how far she can go without cutting into her own hand. 

The money paid out for help must come from profits. The 
more sales that can be made with the smallest expenditure, the 
more profits will go into the shop's pocket, and vice versa. 

THE OUTSIDE WORKERS 

A larger shop will have to do a great deal of work which 
cannot be handled in the work-shop itself profitably. In this 
class are the made to order embroideries, often sewing, and the 
preparing of novelties or their parts. 

This kind of work, being mostly done by women who have 
household duties and, sometimes, other employment, being, 
in fact, a side issue with them, is called piece work and is 
considerably cheaper than if it were done by hired help in your 
shop. 

To secure good home workers, one turns quite naturally to 
advertisement. 

The questions in regard to the qualifications of this outside 
help rest with less details. Efficiency, honesty, and punctuality 
are the main considerations. 

Efficiency stands for clean, perfect and excellent work. 

Honesty stands for safety in entrusting her with the ma- 
terials and property belonging to the shop. 

Punctuality means that the work will be done at the time 
desired, appointments kept and a general appreciation of business- 
like reliability. 

Demand a sample of work so that you can see for yourself 



The Successful Embroidery Shop 1 35 

the sort of work the applicant does, then, if satisfactory, give her 
a trial. 

To insure yourself for possible loss, payment for the first 
work done can be retained until the second lot is finished, or a 
standing deposit might be asked for. 

As far as punctuality goes, you must insist upon it, and 
refuse to give out work to anyone who does not comply with the 
rules of the shop. 

Payment is done best on a certain day of the month, or week. 

Quite naturally, strict records must be kept of the work 
given out. 

If it is impossible for you to secure outside help in your 
locality, then advertise in out-of-town papers, and get a list of 
women to whom to send your outside work by mail. 

SUPERVISING THE WORK IN GENERAL 

In every shop, where help is employed, the manager must 
exercise a steady supervision of the work of the employees. 
Without this supervision, in the strictest sense of the word, there 
will not be harmony for the various elements will scatter their 
activities instead of centralizing the force to one end. 

Supervision involves the correct division of the work, the 
doing of the right thing at the right time in every business detail. 

The better trained the shop help is, the less efforts will be 
needed on the part of the manager to keep the place running 
smoothly. 

In a shop where the work is not done in a hand-to-mouth 
fashion, but where a preparatory work must be done for the 
approaching season, the management must work out its plans far 
ahead to make, so to say, a pre-arranged campaign for the future 
business. 

This part of the business supervision in a larger shop will 
involve considerable placing an planning, in which the trend of 
fashion must be very closely considered. Just how this is to be 



I 36 The Successful Embroidery Shop 

done, must be discovered by each individual shop, which will 
devise methods to fit their own needs. In general, however, the 
following very useful method will serve as a guide. 

These plans call for a number of new articles to be produced 
by the shop. Think out a numbering system, beginning with 

II I " or " ioo " or any odd number. Next, get some medium 
sized filing cards and arrange space for the following items : 

Number. 

Name and short description of article. 

Material (its number or description.) 

The size and quantity of material needed. 

The price of material. 

The cost of cutting, stamping, tinting, sewing, embroidering. 

List of embroidery materials. 

With this you can begin to fill in your data, something like 
this: 

No 172. Empire style night gown, 
on 1 100 Nainsook 
3 yards to the piece. 

For the start, this will be all needed, the balance of the 
data will develop with the actual making up of the planned 
articles. 

It is very easy to realize that the manager who follows out 
this preconceived plan, instead of doing things impulsively, in a 
hap-hazard way, will be in a better position to know definitely 
where she stands, and will have a great advantage over those 
who just go ahead. 

Don't imagine that the time devoted to making records is 
wasted, it is just the opposite, the greatest time saver. With a 
well organized system, the supervision of all the work is easy 
and the manager can put her finger at any time on every detail 
of her business. 

In this chapter we will say a word about the handling of 



The Successful Embroidery Shop 1 37 

employees in the daily routine work. By all means, the manager 
should be and remain the " Boss " all the time. 

By retaining the proper distance, even though kindly and 
interested in the employees's wellf are, it will be far easier to hold 
a strict discipline in the shop. 

By closely following the development of each individual 
worker, you will find the key to deserved promotions, and the 
opportunities to secure good employees for the future. 

CORRESPONDENCE 

In every up-to-date shop, the correspondence will grow in 
direct proportion to the shop's expansion, and above all, where 
mail order comes in, the correspondence will become quite 
voluminous. 

Neatness and correctness in correspondence are essential 
factors. Every little thing counts, therefore the shop should 
pride itself upon neat and attractive stationery. Where there 
is a need for larger correspondence, a typewriter is advocated. 
This gives a prestige and is so much clearer to the reader. This, 
however, is a question to be taken up by each individual and 
decided upon according to the wants of the shop. 

But, more important than the typewriter is the letter itself. 
The elements for a good business letter are very easily pointed 
out by these two questions: 

"What do you wish to say?" 

" What does the inquirer want to know?" 

With this in mind, you must strive for correct expression. 

When a shop writes to a manufacturer, whose goods the shop 
handles, it is a much simpler matter to express the wants cor- 
rectly, since the manufacturer knows all about the articles and 
business details. Sometimes a number or a letter might mean 
the whole description of an article to the initiated, but it is 
altogether different when writing to a retail customer. 

When corresponding with the un-initiated, you have to lay 



1 38 The Successful Embroidery Shop 

special stress upon clarity of expression. Terms familiar to the 
trade only must be eliminated from the letters to people not 
versed in fancy goods business. 

Strive for simplicity of expression and avoid verbosity. It is 
well known that many words are liable to cause errors to creep 
in. Short and to the point, always courteous letters cannot fail 
to bring the best results in business correspondence. 
The following examples will serve as guides: 

The Worth Embroidery Shop. 

Barry, Ala., September 26, 1916. 

Wm. H. Horstmann Co., Philadelphia, Pa. 
Gentlemen : 

Shipment of my initial order arrived and found very 
satisfactory. 

Please send me at once : 

1 doz. each 532/A cushion, scarf, and center. 

I doz. No. 520 center. 

J4 gross No. 651 aprons. 

The No. 3 Lustrone cabinet with complete assortment. 

1 gross No. 10 eagle hooks. 

1 gross Sitka bone rings. 

2 boxes Brilliant thread shade No. 3. 

An assortment of Columbia Mercerized crochet thread. 
Render bill as usual. 

Yours very truly. 

In this letter, the Worth Embroidery Shop orders a number 
of articles from Wm. H. Horstmann Co. in Philadelphia. 
The letter fully covers the description of the aricles wanted and 
the order can be filled without trouble, but, to anyone else but 
the house addressed, it would not be understood, nor even 
partly understood. 

It is an altogether different matter to write to customers. 



The Successful Embroidery Shop 1 39 

The Worth Embroidery Shop. 

Barry, Ala., September 26, 19 16. 
Mrs. Clara Argent, Helios, Ala. 
Dear Madam: 

We are sending you by parcel post the autumn leaf center, 
which we believe will answer your description. Enclosed here- 
with find 12 skeins of black lustrone as ordered, and a lace 
edging which matches the color of the cloth very well. 

The sample crochet hook you sent us cannot be replaced, 
for this brand, on account of the war, is entirely out of the 
market. We can furnish you the Eagle brand of crochet hook 
in any desired size, and if you will let us know, we shall match 
up the size and send you one. 

Awaiting your decision, we beg to remain, 

Yours very truly. 

The Worth Embroidery Shop. 

Barry, Ala., September 26, 19 16. 
The Sylvia Mfg. Co., New York City. 
Gentlemen : 

We are in receipt of your new fall catalogue of package 
goods. This line appeals to us and we would like to know your 
special terms as mentioned for complete assortments. 

Trusting to hear from you soon, we are, 

Yours very truly. 

BOOKKEEPING 

To be entirely successful, a shop must be conducted in such 
a way that its every business transaction shall be recorded, so 
that, at any moment, the manager is enabled to learn the shop's 
resources and liabilities. 

To facilitate this, a bookkeeping system must be established. 

A cash register for a small shop is a very good bookkeeper, 
but this machine records the sales only, therefore the liabilities 
must be kept separate. 



140 The Successful Embroidery Shop 

The kind of system established is of little importance. But 
the simplest will often prove the best. Accuracy in entering 
each and every item is absolutely essential. When an entirely 
cash business is conducted, the cash register should be installed 
at the very first opportunity. 

The two chief sections of bookkeeping are the " Debit " and 
" Credit " columns. 

The " Debit " column should record all the items which 
enter into the possession of the shop against cash value. 

All merchandise bills bought for sale or manufacture. 

In the " Credit " column are entered all the items which 
have gone out of the shop's possession, producing cash value. 

Beside this, the following items must be taken into 
consideration. 

DEBIT COLUMN 

The cash withdrawn from the shop by the proprietor for 
personal use. 

For assumed business liabilities. 

For net loss at the close of the books. 

CREDIT COLUMN 

All investments in the business. 

All net gains at the close of the books. 

The expense account includes rent, salaries or wages, in- 
surance, light, heat, etc., is debited for cash spent to carry on 
the business, and credited for the proceeds of sales of any item 
previously debited to the expense account. 

It is evident that a small shop will be far better off with 
the very simplest form of bookkeeping, where errors are less 
liable to happen, and the actual work connected with the re- 
cording of the various entries is less complicated. 



The Successful Embroidery Shop 141 

But it is also clear that a shop without any bookkeeping 
system at all, cannot exist. 

VARIOUS RECORDS 

Throughout the book we have indicated a number of useful 
recording systems, all devised to promote the interests of the 
shop. 

The manager will judge and decide in regard to the appli- 
cation of each system. There is no doubt that the written evi- 
dence furnished by any record is a most valuable guide in 
building up the business, and the slight amount of work attached 
to the establishment of any system of recording makes it worth 
while to investigate and experiment with these up-to-date 
methods. 

Every shop must solve its own problems and to do this 
scientifically, its manager should choose or plan the ways and 
means of these business records. 

Experience has shown that the card system is adaptable 
to almost any need, therefore it will be preferable to other 
records. 

Here, as every where, punctuality will be a necessity, for 
it is the stepstone to success. 

PRICE MARKS 

In the retail business, the best way to mark the prices is 
by plain numbering. 

If a thing is to be sold for fifty cents, mark it 50c. 

However, there are occasions when the marking of goods 
with secret marks are preferable to plain numbers. In such a 
case, a very 'simple way of devising a secret code can be pro- 
duced by the use of a key word, each letter standing for a 
numeral : 



142 The Successful Embroidery Shop 

AMPLEFOUND. 

12 3456789 O. 

Thus, M E means 25, and A E D $1.50, etc. 
Quite naturally, in such key words, each letter should ap- 
pear but once, for instance: " Vanderbilt " Conrad Blis," etc. 

THE TURN-OVERS 

The term " turn-over " is used to express the length of time 
in which a certain piece of merchandise is turned into cash. 
It is very simple, if we consider it in a single instance, but it 
is rather intricate when we attempt to extend it over all the 
articles bought and sold in an art needlework shop. 

The study of turn-over possibilities is not only interesting 
but very useful in any line of business, therefore a little investi- 
gation will be of advantage. 

Let us suppose that a shop invests $100.00 in January, in 
towels. The towels are sold in one month, at the average price 
of $125.00. A new investment is made with that $125.00 in 
piece goods, which are disposed of inside of two months for 
$175.00. This amount is, in turn, invested in a general line 
of fancy goods, sold in another three months for $250,00. 

This $250.00 reinvested in the new fall line, is turned 
into cash by the end of the year and results in $350.00 

This example is an ideal assumption to illustrate the question 
of turn-overs. 

Now then, we find that the original investment of $100.00 
has been turned over during the year with its increasing value 
four times and the result of this turn over is $250.00. 

The morale of this somewhat exaggerated example is: the 
increased capacity of capital produced by turn-overs. 

To illustrate this in a more feasible way, let us consider 
a shop which does a business of $25,000.00 a year, on a capital 
of $5,000.00. Such a business would be considered a very 
staple proposition by showing a net profit of 10% per annum 



The Successful Embroidery Shop 143 

on the business represented. In fact, considering the actual 
investment, this would really mean 30% per annum on the 
capital invested. However, if by careful buying and up-to-date 
methods, the shop could produce a business of $50,000 volume 
with the same capital, it would net 60% profit on the actually 
invested $5,000.00. 

This certainly shows the reason why every live business is 
striving for speedy, constant and certain turn-overs. 

To secure such a business, the most up-to-date buying 
methods and most carefully laid system is necessary. This is a 
case when brain power means actual cash. 

THE STOCK AND STOCK TAKING 

The shop's stock is its life blood. To keep up a shop and 
to make it profitable, there must be on hand a stock for direct 
sales as well as for manufacturing. The acquiring of this 
stock was described in the chapter devoted to buying, and here 
we shall deal with the whole collection of merchandise in one 
bulk. 

The goods on the shelf, in the cases, cabinets, and in the 
show windows are all elements of the stock and are all there 
with the one purpose of selling them profitably. 

In a live shop, the stock will never remain long on the 
shelves, but will go, only to be replaced. But during the time 
it is in the shop, it needs careful and systematic handling. 

Right from the beginning, a shop should be laid out to 
accommondate the stock, to provide for satisfactory room for 
this and to permit its easy handling. 

Just as it is with other constantly changing business matters, 
a system should be devised by which the manager can tell at 
a glance just how his merchandise stands. The card system 
here is found a handy device, as described in the chapter of 
buying, and it should be adopted and constantly kept up-to-date. 
With this method on hand it will not be necessary to search 



144 The Successful Embroidery Shop 

the shelves when the traveling man from the X company enters 
with his samples. 

At the end of every business year, a stock taking must be 
executed. The days between Christmas and the New Year are 
usually utilized for this purpose, unless a store or shop closes its 
fiscal year at another season. Stock taking is a proceeding 
which establishes exactly the property of the shop. Its chief 
benefit is that the counting up of the exact value of the stock 
will enable the store to make a correct financial balance. 

Even with the accurately kept card system, it is necessary 
to take stock in order to verify the cards and to correct them, 
if need be. 

The best way to proceed is to secure a number of ruled 
sheets and to devote one or more sheets to the related objects. 
Handle the piece goods, the stamped goods, semi-made goods, 
embroidery threads, crochet threads, accessories, etc., on separate 
sheets. This classification will enable the manager to get at the 
total result easier, and it will also help to fill in the prices with 
more rapidity. 

When the whole stock is taken, and duly recorded on the 
sheets, the sheets can be bound into a book or put together with 
the ring system, and filed for future use. 

The prices, of which two might be entered, that is to say, 
the actual cost and the selling price, are now figured out. 
Having carefully watched the conditions of the stock, now is the 
time to select out job lots and to discount damaged or shop- 
worn goods and to adjust the values accordingly. 

The figures then represent the real values and the shop can 
rely upon them absolutely. 

The totalled columns will represent the stock value in the 
store or shop at the date of stock taking. 

Beside the merchandise, all the other shop property represents 
value: fixtures, machinery, etc. This property, however, should 



The Successful Embroidery Shop 145 

be kept in a separate account, for it has a different meaning 
than the merchandise on hand. 

NAMES AND ADDRESSES OF SUPPLY HOUSES 
OF INTEREST TO THE SHOP 

The following list of manufacturers, importers, wholesalers 
and jobbers is as complete as the space on hand permits. Quite 
naturally, the largest number of these addresses are in New York, 
and therefore, when there is no city specified, it means " New 
York City." 

The following method is recommended in order to use this 
list to good advantage: 

Select the firm which, according to the general classification, 
carries the class of goods you desire, then address them in a 
courteous manner, asking samples, with prices, or catalogues, 
as the case might be. Houses whose traveling men pass through 
your territory will very often direct their man to pay a call on 
you, with a complete line of samples, and it is the enterprising 
new store manager who will find friends in such traveling men. 

For small shops, the firms listed under " Art Embroidery 
Materials " will be found the most interesting, and they will 
very seldom have to go farther. 

This list is guaranteed to be up to date. 

ART EMBROIDERY MATERIALS 

American Hard Rubber Co 11 Mercer St., N. Y. City. 

Austin, Walker, Sales Co 215 4th Ave. 

Blankenburg, R. Co 24th and Ellsworth St., Phila. 

Blankenburg, R. Co 1270 Broadway, N. Y. City. 

Borgfeldt, Geo. & Co 16th and Irving Place, N. Y. 

Boutwell, Fairclough & Gold, 

Inc 215 4th Ave, N. Y. 

Boutwell, Fairclough & Gold 

Inc 274 Summer St., Boston, Mass. 

Buettner & Co., T. B 317 W. Adams St., Chicago, 111. 



146 The Successful Embroidery Shop 

Calhoun, Robbins & Co 897 Broadway, N. Y. 

Campbell, Metzger & Jackson.. 936 Broadway, N. Y. 

Carson, Pirie & Scott Co Chicago, 111. 

Clark, A. L. & Co 652 Broadway, N. Y. 

Cohn-Hall-Marx Co 93 Franklin St., N. Y. 

Courtrai Mfg. Co 115 Franklin St., N. Y. 

Dieckerhoff, Raffloer & Co 564 Broadway, N. Y. 

Frankenberg, Henry E. Co 215 4th Ave., N. Y. 

Herschner & Co 2564 Marshfield Ave., Chicago. 

Horstmann & Co., Wm. H....222 4th Ave., N. Y. 

Horstmann & Co., Wm. H 5th and Cherry Sts., Phila. 

Linen Thread Co., The 96 Franklin St., N. Y. 

Linen Thread Co., The 575 Atlantic Ave., Boston. 

Linen Thread Co., The 5th and Arch Sts., Phila. 

Linen Thread Co., The Lombard and Calvert St., Balto. 

Linen Thread Co., The 443 Mission St., San Francisco. 

Linen Thread Co., The 154 W. Austin Ave., Chicago. 

Linen Thread Co., The 414 N. 11th St., St Louis, Mo. 

Linen Thread Co., The 118 E. 6th St., Cincinnati, Ohio. 

Linen Thread Co., The 116 Mill St., Rochester, N. Y. 

Marshell Field Co Chicago, 111. 

Milliken, T. K. & Son 350 Broadway, N. Y. 

Modern Priscilla Pub. Co Boston, Mass. 

Porter, Joseph L. Co 61 Leonard St., N. Y. 

Schulemann, F. Co., The 45 E. 20th St., N. Y. 

Strauss' Bros & Co 355 Broadway, N. Y. 

Taylor, Thos. P. Co., The Bridgeport, Conn. 

Taylor, Thos. P. Co., The 487 Broadway, N. Y. 

Ulmann, Bernhard Co., Inc.... 109 Grand St., N. Y. 
Van Blankensteyn & Hennings..471 Broadway, N. Y. 

Verkruzen, T. B 473 Broadway, N. Y. 

Vogel & Co 327 W. Adams St., Chicago, 111. 

Warner Mfg. Co 571 Broadway, N. Y. 

Westerly Textile Co., The 54 Leonard St., N. Y. 

Wilmerding & Bisset 170 5th Ave., N. Y. 

Wright, Wm. E. & Sons Co.. ..40 Lispenard St., N. Y. 



The Successful Embroidery Shop 147 

ART EMBROIDERY GOODS 

Blankenberg, R. Co Ellsworth and 24th St., Phila. 

Blankenberg, R. Co 1270 Broadway, N. Y. 

Borgfeldt, Geo. & Co 16th and Irving Place, N. Y. 

Campbell, Metzger & Jackobson.936 Broadway, N. Y. 

Frank, M. H. & Co 906 Broadway, N. Y. 

Horstmann Co., Wm. H Philadelphia, Pa. 

MANUFACTURERS AND IMPORTERS OF HIGH ART 

DECORATIVE EMBROIDERED LINENS, MADEIRA, 

CLUNY, DRAWN-WORK, ETC. 

Fried, Mendelson & Co 221 4th Ave., N. Y. 

Horstmann, Wm. H. & Co 222 4th Ave., N. Y. 

Horstmann, Wm. H. & Co 5th and Cherry Sts., Phila. 

Lahey, I. A. & Sons 17 E. 22nd St., N. Y. 

L. S. C. Co, Inc 214 Taaffe Pla., Brooklyn, N. Y. 

Machenbach Impt. Co., The... 15 W. 21st St., N. Y. 

Meyer Bros & Danda 142 Grand St, N. Y. 

Partridge & Wilcox 251 Church St., N. Y. 

Remy, Schmidt & Pleissner. . . .22 White St., N. Y. 

Schulemann, F. Co., The 45 E. 20th St., N. Y. 

Ulmann, Bernhard Co., Inc 109 Grand St., N. Y. 

Warner Mfg. Co 571 Broadway, N. Y. 

Weil, Lorimier & Greenbaum. .580 Broadway, N. Y. 

EMBROIDERY HOOPS 

American Hard Rubber Co 11 Mercer St., N. Y. 

Campbell, Metzger & Jacobson.936 Broadway, N. Y. 

Dieckerhoff, Raffloer & Co 564 Broadway, N. Y. 

Frankenberg, Henry E. Co 215 4th Ave., N. Y. 

Porter, Joseph L. Co 65 Leonard St., N. Y. 

.Taylor, Thos. P. Co Bridgeport, Conn. 

Taylor, Thos. P. Co 487 Broadway, N. Y. 

EMBROIDERY (SWISS) 

Dommerick, E. F. & Co 4th Ave. and 20th St., N. Y. 

Klauber Bros. & Co 18th and Broadway, N. Y. 

Leumann, Boesch & Weingart. . 122 5th Ave., N. Y. 

Whythlaw, John Co 315 4th Ave., N. Y. 

Zahner & Schiess & Co 315 4th Ave., N. Y. 



148 The Successful Embroidery Shop 



FANCY GOODS AND NOTIONS 

American Pin Co 890 Broadway, N. Y. 

Arlington Co 725 Broadway, N. Y. 

Art Metal Work, The 45 E. 17th St., N. Y. 

Berg Bros 480 Broadway, N. Y. 

Bing, Ferd & Co 67 Irving Place, N. Y. 

Borgfeldt, Geo. & Co 16th St. and Irving Place, N. Y. 

Burke, Alfred 693 Broadway, N. Y. 

Calhoun Robbins & Co 410 Broadway, N. Y. 

Celluloid Co., The 30 Washington Place, N. Y. 

Cohn & Co., Max G., The 693 Broadway, N. Y. 

Conover, C. E. Co., The 101 Franklin St., N. Y. 

Crowley, C. H 274 Church St., N. Y. 

Dieckerhoff, Raffloer & Co 564 Broadway, N. Y. 

Dowd & Co., J. C 89 Madison Ave., N. Y. 

Ernstthal & Pohly 328 Church St., N. Y. 

Fiberoid Co 53 5th Ave., N. Y. 

Frisch Toilet Mirror Co 161 W. 29th St., N. Y. 

Guthman, Solomons & Co., Inc. 511 Broadway, N. Y. 

Haley & Co., C. J 373 Broadway, N. Y. 

Horn, W. C. Bros. & Co 541 Broadway, N. Y. 

Horrax, Edwin 513 Broadway, N. Y. 

Horstmann & Co., Wm. H 5th and Cherry Sts., Phila. 

Howard's Son & Co., S. E 15 W. 24th St., N. Y. 

Kunath & Kunath 373 4th Ave., N. Y. 

Morimura Bros 546 Broadway, N. Y. 

Oakville Co., The 377 Broadway, N. Y. 

Pacific Novelty Co 41 East 11th St., N. Y. 

Poirer & Lindemann 373 4th Ave., N. Y. 

Porter Bros. & Co 106 Worth St., N. Y. 

Porter, Jos. L. & Co., Inc 61 Leonard St., N. Y. 

Rice & Hochster 87 5th Ave., N. Y. 

Samstag & Hilder Bros 557 Broadway, N. Y. 

Steinhardt, A. & Bro 860 Broadway, N. Y. 

Strauss Bros. & Co 355 Broadway, N. Y. 

Taylor, Thos. P 487 Broadway, N. Y. 

Topken Co 84 5th Ave., N. Y. 

Van Blankensteyn & Hennings..471 Broadway, N. Y. 

Vantine, A. A. & Co 877 Broadway, N. Y. 

Wagner Comb Mfg. Co 1182 Broadway, N. Y. 



The Successful Embroidery Shop 149 

Waldes & Co 137 5th Ave., N. Y. 

Warner Mfg. Co 569 Broadway, N. Y. 

Warren Featherbone Co 44 E. 23rd St., N. Y. 

White & Perkins' Co., The 365 Broadway, N. Y. 

Wright, Wm. E. & Sons Co.. ..40 Lispenard St., N. Y. 



FANCY KNIT GOODS 

Ascher, Simon & Co 390 4th Ave., N. Y. 

Carter, Wm. Co., The Needham Heights, Mass. 

Carter, Wm. Co., The 40 E. 19th St., N. Y. 

Fleitmann & Co 256 4th Ave., N. Y. 

Haines, Samuel W. & Co 1023 Filbert St., Phila. 

Mallory, W. Lee Co., The 345 5th Ave., N. Y. 

Mallory, W. Lee Co., The 356 4th Ave., N. Y. 

Shoyer, D. W. & Co 394 Broadway, N. Y. 

Thurman Mfg. Co 427 Ashmead St., Germantown, 

Phila. 



FANCY KNIT GOODS (HANDMADE) 

Ascher, Simon & Co 390 4th Ave., N. Y. 

Horstmann, Wm. H. & Co.... 222 4th Ave., N. Y. 

Horstmann, Wm. H. & Co 3th and Cherry Sts., Phila. 

Mallory, H. Lee C, The 345 5th Ave., N. Y. 

Mallory, H. Lee C, The 356 Fourth Ave., N. Y. 



FLANNELS— COTTON 

Amory, Browne & Co 62 Worth St., N. Y. 

Baily, Joshua L. & Co 41 Thomas St., N. Y. 

Bliss, Fabyan & Co 32 Thomas St., N. Y. 

Catlin & Co 345 Broadway, N. Y. 

Converse & Co 79 Worth St., N. Y. 

McConnell, Edward & Co 13 E. 22nd St., N. Y. 

Smith, Hogg & Co 115 Worth St., N. Y. 

Wilson, Jas. L. & Co 48 Leonard St., N. Y. 

Woods, Jos. W. & Son 58 Leonard St., N. Y. 



150 The Successful Embroider}) Shop 



FLANNELS— WOOL 

Allen-Lane Co 233 4th Ave., N. Y. 

Anderson, Wm. & Co 48 White St., N. Y. 

Deering, Milliken & Co 79 Leonard St., N. Y. 

Dommerich, L. F. & Co 254 4th Ave., N. Y. 

Parker, Wilder & Co 62 Leonard St., N. Y. 

Stearns, Wm. Taylor 215 4th Ave., N. Y. 

Vietor, Fred & Achelis 65 Worth St., N. Y. 

INFANTS' WEAR 
(See also under other classifications.) 

Bamberger, G. & Co 387 4th Ave., N. Y. 

Cogswell & Boulter Co 1328 Broadway, N. Y. 

Libman, B 127 W. 17th St., N. Y. 

Luri, Gus & Co Broadway and 29th St., N. Y. 

Rosenthal, H. & Son 121 W. 27th St., N. Y. 

Schwed, R. & Co 119 W. 25th St., N. Y. 

Whitehead & Asiel 148 W. 23rd St., N. Y. 

KNIT GOODS— FANCY 

Allen, J. & B. 346 Broadway, N. Y. 

Claflin, The H. B. Co 224 Church St., N. Y. 

Sahner, Victor P 346 Broadway, N. Y. 

Shoyer, D. W. & Co 394 Broadway, N. Y. 

Sudbury, E. B. & Co 343 Broadway, N. Y. 

LINENS— (AUSTRIAN) 

Campbell, Metzger & Jacobson.936 Broadway, N. Y. 
Erlanger N. Blumgart & Co.. ..354 4th Ave., N. Y. 
Frankenberg, Henry E. Co.... 215 4th Ave., N. Y. 

Fried, Mendelson & Co 221 4th Ave., N. Y. 

Glass, Henry & Co 46 White St., N. Y. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

Ulmann-Bernhard Co., Inc 109 Grand St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Philadelphia. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 



The Successful Embroidery Shop 151 



LINENS (BROWN AND DUNDEE GOODS) 

Andrews, Robert Co., The 115 Franklin St., N. Y. 

Fluegelmann, N. & Co 74 Leonard St., N. Y. 

Friedman & Krieger 225 5th Ave., N. Y. 

Glass, Henry & Co 46 White St., N. Y. 

Goddard, J. W. & Sons, Inc... 94 Bleecker St., N. Y. 

Linen Thread Co 96 Franklin St., N. Y. 

Matier, Henry & Co., Ltd 17 White St., N. Y. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Phila. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 

Wilmerding & Bisset 170 5th Ave., N. Y. 



LINENS— (IRISH) 

Andrews, Robert Co 115 Franklin St., N. Y. 

Bailey, B. F. & Co 10 Thomas St., N. Y. 

Belfast Linen Hdkf. Co., Ltd... 432 4th Ave., N. Y. 
Campbell, Metzger & Jacobson.936 Broadway, N. Y. 

Dommerich, L. F. & Co 4th Ave. and 20th St., N. Y. 

Erlanger, N. Blumgart Co 354 4th Ave., N. Y. 

Glass, Henry & Co 46 White St., N. Y. 

Goddard, J. W. & Sons, Inc... 94 Bleecker St., N. Y. 

Haas, S. & Co 62 White St., N. Y. 

Ireland Bros , 102 Franklin St., N. Y. 

Linen Thread Co., The 96 Franklin St., N. Y. 

Matier, Henry & Co., Ltd 17 White St., N. Y. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

McCann, John & Co 26 White St., N. Y. 

McConnell, E. & Co 19 E. 22nd St., N. Y. 

McKeag, H. S. & Co 108 Franklin St., N. Y. 

Milliken, T. K. & Son 350 Broadway, N. Y. 

Murphey & Stevenson, Ltd.... 38 White St., N. Y. 

Trippe, Barker & Co 104 E. 25th St., N. Y. 

Turtle Bros 57 White St., N. Y. 

Ulmann, Bernhardt Co., Inc.... 109 Grand St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Phila. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 

Wilmerding & Bisset 1705 5th Ave., N. Y. 



152 The Successful Embroidery) Shop 

LINENS (FANCY) 

Blankenburg, R. Co 24th and Ellsworth Sts., Phila. 

Blankenburg, R. Co 1270 Broadway, N. Y. 

Campbell, Metzger & Jacobson.936 Broadway, N. Y. 
Erlanger, N. Blumgart & Co .... 354 4th Ave., N. Y. 

Frank, M. H. & Co 906 Broadway, N. Y. 

Frankenberg, Henry E. Co 215 4th Ave., N. Y. 

Fried, Mendelson & Co 221 4th Ave., N. Y. 

Goddard, J. W. & Sons, Inc.. 94 Bleecker Ave., N. Y. 

Haas, S. & Co 62 White St., N. Y. 

Horstmann, Wm. H. & Co 5th and Cherry St., Phila. 

Horstmann, Wm. H. & Co.... 222 4th Ave., N. Y. 

Ireland Bros 102 Franklin St., N. Y. 

L. S. E. Co., Inc 214 Taaffe Pla., Brooklyn, N. Y. 

Matier, Henry & Co 17 White St., Phila. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

McKeag, W. S. & Co 178 Franklin St., N. Y. 

Nozawaija & Co 120 E. 25th St., N. Y. 

Remy, Schmidt & Pleissner. . . .22 White St., N. Y. 

Schulemann, F. Co., The 45 E. 20th St., N. Y. 

Schwab & Wolf 41 White St., N. Y. 

Turtle Bros 57 White St., N. Y. 

Ulmann, Bernhard Co., Inc.... 109 Grand St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Phila. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 

Wimpfheimer, A. & Bro 360 Fourth Ave., N. Y. 

LINENS (EMBROIDERED, ETC.) 

Campbell, Metzger & Jacobson.936 Broadway, N. Y. 
Erlanger, N. Blumgart & Co.. 354 4th Ave., N. Y. 

Frankenberg, Henry E. Co 215 4th Ave., N. Y. 

Fried Mendelson & Co 221 4th Ave., N. Y. 

Goode, Albert, Bedie & Cie....l3 W. 20th St., N. Y. 

Ireland Bros 102 Franklin St., N. Y. 

L. S. E. Co., Inc 214 Taaffe Pla., Brooklyn, N. Y. 

Lovell, F. L 440 4th Ave., N. Y. 

Matier, Henry & Co 17 White St., N. Y. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

Nozawaya & Co 120 E. 25th St., N. Y. 

Remy, Schmidt & Pleissner .... 22 White St., N. Y. 



The Successful Embroidery Shop 153 

Trippe, Barker & Co 104 E. 25th St., N. Y. 

Turtle Bros 57 White St., N. Y. 

Ulmann, Bernhard Co., Inc 109 Grand St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Phila. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 

Wimpfheimer, A. & Bro 460 4th Ave., N. Y. 

LINENS (HOUSEKEEPING) 

Baily, B. F. & Co 10 Thomas St., N. Y. 

Campbell, Metzger & Jacobson.936 Broadway, N. Y. 

Castleisland Linen Co 14 White St., N. Y. 

Dommerich, L. F. & Co 4th Ave. and 20th St., N. Y. 

Douglass & Berry 82 Franklin St., N. Y. 

Duff & Benton 114 Franklin St., N. Y. 

Fried Mendelson & Co 221 4th Ave., N. Y. 

Glass, Henry & Co 46 White St., N. Y. 

Haas, S. & Co 62 White St., N. Y. 

Ireland Bros 102 Franklin St., N. Y. 

Matier, Henry & Co., Ltd 17 White St., N. Y. 

L. S. E. Co., Inc 214 Taaffe Pla., Brooklyn, N. Y. 

McBratney, Robert & Co 121 Franklin St., N. Y. 

McCann, John & Co 26 White St., N. Y. 

McCrum, Watson, Mercer 13 White St., N. Y. 

Milliken, T. K. & Son 350 Broadway, N. Y. 

Mogi, Momonoi & Co 105 E. 16th St., N. Y. 

Neilson & Crossley 118 Franklin St., N. Y. 

Remy, Schmidt & Pleissner. . . .22 White St., N. Y. 

Schofield & Walter 16 White St., N. Y. 

Turtle Bros 57 White St., N. Y. 

Wellen's, Jules Sons, Ltd 2135 Howard St., Phila. 

Wellen's, Jules Sons, Ltd 27 White St., N. Y. 

Welsch & Culley 440 4th Ave., N. Y. 

York Street Flax Spinning Co., 
Ltd 109 Franklin St., N. Y. 

NEEDLES 

Calhoun, Robbins & Co 410 Broadway, N. Y. 

Mills, Wm. & Son 21 Park Place, N. Y. 

Porter, Jos. L. Co., Inc 61 Leonard St., N. Y. 

Roberts, R. J. & Co 10 Duane St., N. Y. 

Van Blankensteyn & Hennings..471 Broadway, N. Y. 



154 The Successful Embroidery Shop 

PINS 

American Pin Co 890 Broadway, N. Y. 

Calhoun Robbins & Co 410 Broadway, N. Y. 

Claflin, The H. B. Co 224 Church St., N. Y. 

Conover, C. E. Co., The 101 Franklin St., N. Y. 

Dieckerhoff, Raffler & Co 564 Broadway, N. Y. 

Mills & Gibb 286 4th Ave., N. Y. 

Oakville Co 377 Broadway, N. Y. 

Poirier & Lindeman Co 373 4th Ave., N. Y. 

Prym, Wm Co 621 Broadway, N. Y. 

Star Pin Co 83 Leonard St., N. Y. 

Van Blankensteyn & Hennings.,471 Broadway, N. Y. 

RIBBONS 

Auffmordt, C. A. & Co 356 4th Ave., N. Y. 

Caesar, H. A. & Co 229 4th Ave., N. Y. 

Calhoun Robbing & Co 410 Broadway, N. Y. 

Cheney Bros 215 4th Ave., N. Y. 

Claflin, The H. B. Co 224 Church St., N. Y. 

Corbett Bros. Co 222 4th Ave., N. Y. 

Dexter, Lambert & Co 387 4th Ave., N. Y. 

Dommerich, L. F. & Co 254 4th Ave., N. Y. 

Ferris & White 357 4th Ave., N. Y. 

Fleitmann & Co 356 4th Ave., N. Y. 

Frank & Dugan 373 4th Ave., N. Y. 

Gartner Ribbon Co., Inc 315 4th Ave., N. Y. 

Greeff & Co 334 4th Ave., N. Y. 

Helvetia Silk Co 25 Madison Ave., N. Y. 

Iselin, Wm. & Co 357 4th Ave., N. Y. 

Johnson, Cowdin & Co 126 5th Ave., N. Y. 

Kridel, J. Sons & Co 390 4th Ave., N. Y. 

Loth, Jos. & Co 117 E. 23rd St., N. Y. 

Openhym, Wm & Sons 95 Madison Ave., N. Y. 

Passavant & Co 440 4th Ave., N. Y. 

Peieris, Buhler & Co 260 4th Ave., N. Y. 

Pelgram & Meyer 395 4th Ave., N. Y. 

Rusch & Co 387 4th Ave., N. Y. 

Schefer Schramm & Vogel....315 4th Ave., N. Y. 

Schroeder, Wm. & Co 315 4th Ave., N. Y. 

Smith & Kaufmann 15 E. 26th St., N. Y. 



The Successful Embroidery Shop 155 

Vietor, Fred & Achelis 26 Madison Ave., N. Y. 

Welwood, John C 260 4th Ave., N. Y. 

Wettlaufer Bros 44 E. 26th St., N. Y. 

Wolf, Chas. & Co 352 4th Ave., N. Y. 

RUFFLINGS, LACE NOVELTIES 

Calhoun, Robbins & Co 410 Broadway, N. Y, 

Kanter Modry & Co 18 E. 18th St., N. Y. 

Kisch Mfg. Co 12 E. 22nd St., N. Y. 

Kursheedt Mfg. Co 1115 Broadway, N. Y. 

Sidenberg, G. & Co 114 5th Ave, N. Y. 

SATINS 

Allen-Lane Co 233 4th Ave., N. Y. 

Auffmordt, C. A. & Co 356 4th Ave., N. Y. 

Byron P. A. & Co 367 4th Ave, N. Y. 

Duplan Silk Co 50 Union Square, N. Y. 

Caesar, H. A. & Co 229 4th Ave., N. Y. 

Cheney Bros 215 4th Ave., N. Y. 

Cronemeyer, C. & Co 357 4th Ave., N. Y. 

Dexter Lambert & Co 387 4th Ave., N. Y. 

Dommerich, L. F. & Co 254 4th Ave., N. Y. 

Eiseman, Samuel & Co 114 E. 23rd St., N. Y. 

Fleitmann & Co 356 4th Ave., N. Y. 

Herzog, Albert 118 E. 25th St., N. Y. 

Iselin, Wm. & Co 357 4th Ave., N. Y. 

Kridel, J. Sons & Co 390 4th Ave., N. Y. 

SILKS— AGENTS AND JOBBERS 

Allen-Lane Co 233 4th Ave., N. Y. 

Arnold, Constable Co 885 Broadway, N. Y. 

Auffmordt, C. A. & Co 356 4th Ave., N. Y. 

Belding Bros. & Co 902 Broadway, N. Y. 

Blum, J. A 25 E. 24th St., N. Y. 

Bonnet, C. J. Kobbe & Co 118 E. 25th St., N. Y. 

Bruyn, Jas. 1 440 4th Ave., N. Y. 

Bryon, P. A. & Co 357 4th Ave., N. Y. 

Cheney Bros 215 4th Ave., N. Y. 

Cronemeyer, C. & Co 357 4th Ave., N. Y. 



156 The Successful Embroider}) Shop 

Dommerich, L. F. & Co 254 4th Ave., N. Y. 

Eiseman, Samuel & Co 114 E. 23rd St., N. Y. 

Ernstein, L. & Bro 345 4th Ave., N. Y. 

Fessler, M 357 4th Ave., N. Y. 

Fleitmann & Co 356 4th Ave., N. Y. 

Greeff & Co 334 4th Ave., N. Y. 

Herzog, Albert 118 E. 25th St., N. Y. 

Iselin, Wm, & Co 357 4th Ave., N. Y. 

Juiliard, A. D. & Co 70 Worth St., N. Y. 

Kridel, J. Sons & Co 70 W. 23rd St., N. Y. 

McCreery, Jas. & Co 390 4th Ave., N. Y. 

Mason, E. T. & Co 224 4th Ave., N. Y. 

Mendelson, Bros., Inc 71 W. 23rd St., N. Y. 

Menke, Kanfmann & Co 225 4th Ave., N. Y. 

Openhym, Wm. & Sons 95 Madison Ave., N. Y. 

Passavant & Co 440 4th Ave., N. Y. 

Peieris, Buhler & Co 260 4th Ave., N. Y. 

Roessel, Louis & Co 440 4th Ave., N. Y. 

Rogers & Thompson, Inc 357 4th Ave., N. Y. 

Rosenthal, A. S. & Co 112 Madison Ave., N. Y. 

Rusch & Co 387 4th Ave., N. Y. 

Sands, A. H. & Co 229 4th Ave., N. Y. 

Schefer, Schramm & Vogel 315 4th Ave., N. Y. 

Schroeder, Wm. & Co 315 4th Ave., N. Y. 

Stirn, L. & E 105 Madison Ave., N. Y. 

Talcott, James 225 4th Ave., N. Y. 

Vietor, Fred & Achelis 25 Madison Ave., N. Y. 

SPOOL COTTON 

Calhoun, Robbins & Co 410 Broadway, N. Y. 

Chadwick, Jas. & Bro., Ltd.... 315 4th Ave., N. Y. 

Clark, O. N. T 315 4th Ave., N. Y. 

Clark Thread Co 315 4th Ave., N. Y. 

Coats, J. & P 315 4th Ave., N. Y. 

Hadley Mills 225 4th Ave., N. Y. 

Hall, Gardiner, Jr. & Co 59 Walker St., N. Y. 

King, Alexander & Co 260 W. Broadway, N. Y. 

Spool Cotton Co 315 4th Ave., N. Y. 

Standard Thread Co 532 W. 22nd St., N. Y. 



The Successful Embroidery Shop 15? 

TOWELS— TURKISH 

Catlin & Co 345 Broadway, N. Y. 

Converse, Stanton & Co 83 Worth St., N. Y. 

Fuld Bros 43 Walker St., N. Y. 

Hamilton, E. H. & Co 113 Worth St., N. Y. 

Smith, Albert D 35 Thomas St., N. Y. 

Whitman, Clarence & Co 39 Leonard St., N. Y. 

WOVEN INITIALS 

Calhoun, Robbins & Co 410 Broadway, N. Y. 

German Artistic Weaving Co... 141 W. 36th St., N. Y. 

YARNS— LINEN 

Fawcett, Hughes ,115 Franklin St., N. Y. 

Frankenberg, H. E. Co 215 4th Ave., N. Y. 

Linen Thread Co 96 Franklin St., N. Y. 

Ulmann-Bernhard Co., Inc 109 Grand St., N. Y. 

YARNS— WORSTED 

Fleisher, S. B. & B. W., Inc.... 18 E. 17th St., N. Y. 

Frankenberg, H. E. Co 215 4th Ave. N. Y. 

Ulmann-Bernhard Co., Inc 109 Grand St., N. Y. 

Horstmann Co.. Wm. H Philadelphia. 




The Von Studio, Inc. 




A Correspondence School 

of 
Indies trial and Domestic Arts 




COMPLETE COURSES IN 


i. 

ii. 

in. 

IV. 


Art Needlework Designing. 
Monogram and Initial Designing. 
Selling Lessons for the Designer. 
Embroidery Shop Practice. 




IN PREPARATION 


V. 

VI. 

VII. 

VIII. 


Advanced Course in Designing. 

Textile Design. 

Jewelry Design. 

Pottery Design and Modeling. 




All these Courses are unique in conception 
and unsurpassed in usefulness 




ASK FOR LITERATURE AND RATES 


THE VON STUDIO, Inc. 




6032 WASHINGTON AVENUE 

Philadelphia, Pa. 



Van Blankensteyn & Hennings 

Art Emb?~oide?y Materials 

Stamped Linens 

Needles Braids 




471 Broadway 
NEW YORK 



HENRY WEIL 

928 Broadway NEW YORK 

Art Embroideries— Art Linens 
Fancy Linens 

"WOOLCRAFT" (P.A.F.) the very latest 

event in Needlework. 
Large assortments in colored canvas for Beaded 

Bags, etc., etc. 
Knitting Bags of every description. 
Highest quality multi-color stamped goods. 



mil 



Daisy' ' Flat Centered j 
Steel Crochet Hooks. 

Made in sizes I, 2, 3, 4, 5, 6, 7, 8, 9, 10,1 
m . , „ ,, , s ,t (J | 11, 12, 13 aiid 14, with or without cap. \ 

NOS. I 2 3 4/5 6 7 8 9101112814 Anyone experienced in the art of crochel 

ing demands them. For sale by 



JOS. L. PORTER CO., Inc. 



61 and 63 LEONARD STREET 



NEW YORK ■ 



When you open your Art 
Needlework Shop it will 
pay you to display 

Modern Priscilla 

The National Fancy Work Magazine. 

Women know the Modern Priscilla to be the 
leading Fancy Work Magazine of America and they 
buy it on sight. Over 700,000 copies are printed 
each month to supply the demand. 

There is a good profit in selling the Modern 
Priscilla, and it is good business to push this publi- 
cation for another reason — every copy in circulation 
stimulates interest in Fancy Work and helps to 
create a demand for the supplies and materials which 
you carry in stock. 

Write for our liberal proposition to Art Needle- 
work Shops and at the same time ask for particulars 
regarding 

Priscilla Fancy Work Books 

Priscilla Books are the big money-makers. A book 
for every kind of Fancy Work. Retail price, 25 
cents each. For sale by Fancy Goods Jobbers gen- 
erally, or ask us about them. 

The Priscilla Publishing Company 

85 BROAD STREET, BOSTON, MASS. 




^ «**K HEG. 'U.SPW.0 



Goods Represent the Best 
Quality at the Best Prices 



Art Needlevvorkers everywhere welcome 
COLUMBIA Cottons and Embroidery Threads 

The COLUMBIA LUSTRONE surpasses any on the 
market in beauty, rich luster and durability. 

The COLUMBIA Stamped Goods are more popular than 
ever. From a Pin-Cushion-Top to the highest grade Library 
Scarf, every article is represented in our line. The CO- 
LUMBIA Novelties are steadily gaining in popularity and 
their distinctive style is well known among Fancy Goods 
buyers. 

The COLUMBIA Package Goods are reputed to be the 
best values on the market. 

KNITTING BAGS 

of all kinds, both in price and quality. Laundry Bags, Auto 
Luncheon Sets, etc. 

We recommend for embroidery 
Art. 217 Mercerized Mouline, 

9 yd. skeins, 24 to a box, all colors. 

Art. 228 Mercerized Floche (Red Label), 
Long skeins, white only. 

Art. 25 Mercerized Sylvia on balls, 

25 yds., 10 balls to a box, all colors. 

Art. 50 Mercerized Sylvia on balls, 

50 yds., 10 balls to a box, white only. 



FOR CROCHET 

Art. 200 Mercerized Crochet, 

10 balls to a box. 
White, sizes 3 to 100. 
Ecru, sizes 3 to 80. 
Dark Linen, sizes 3 to 70. 
Colors, sizes 3, 10, 20, 30, 50, 70. 
Shaded Colors, sizes 3 and 30. 



COLUMBIA YARNS 

Unexcelled for Quality. 

Are recognized as standard wherever yarns are used. 
Full and even thread combined with durability and elasticity 
give satisfactory results. 

Largest assortment of colors and greatest variety of stocks 
are good reasons why COLUMBIA Yarns have a 
Nation-wide reputation. 



THE COLUMBIA 
BOOK OF YARNS 

Gives complete instructions 
how to make many beautifu 
and useful garments. 

Fully illustrated. 

We Sell to the Trade 
Only. 




WM. H. HORSTMANN COMPANY 

PHILADELPHIA 



the Von 

SCALLOP MARKER 

The VON Scallop Marker is an instrument that will mark scallops on 
centers, doilies, lingerie, dresses, towel ends, pillow cases, etc. This pat- 
ented device is so arranged that the scallops are automatically marked di- 
rectly on the material if the simple instructions are followed. 

INSTRUCTIONS 
Place the material flat on the table. Fold it over once, making a crease 
down the exact center. Press this crease carefully in a straight line. Fold 

the material over 
again, making sure 
that the creased 
line is exactly 
doubled and laid 
back on itself. 
Press these creases 
firmly. These 

creases divide the 
material into four 
equal parts, and 
the exact center is 
where the lines 
cross each other. 

Decide upon the 
size of the center- 
piece or doily, then 
fasten the pivot 
hole in the guiding 
rod of the scalloper 
to the center of the 
material, through 
both, into a draw- 
ing board, table, 
etc., so that it is 
firmly held. Straighten out the guiding rod and find the scallop which 
corresponds with the marks opposite the pivot hole and guide it to the edge 
of the crease (see illustration). If an 18" center is wanted, find the scallop 
marked 18". If there is another number beside this, that means that the 
same scallop can also be used for another size article. In this case, for a 
9" doily. 

Place one corner of the scallop so that it just touches " b " line, and run 
the point of a soft pencil (No. 2 grade) around the cut-out scallop, holding 
the head of the marker fast. Move the scalloper on, holding the rod 
straight, until the end of the first scallop and the cut-out just meet, draw 




the scallop, and repeat. The end or middle scallop ought to touch the next 
crease. The creases serve as a checking system and if there is a slight 
distance between 
the last scallop and 
the crease, or if it 
overlaps the crease, 
correct it by length- 
ening the scallop or 
closing it up. 

A special mark- 
ing crayon is advis- 
able when dark 
materials are used. 

In some cases the 
use of a non-rub- 
bing carbon paper 
i s recommended. 
Place the material 
face down on the 
carbon and use a 
hard pencil to out- 
line the scallop. 

The rod of the 
scallop marker is 
marked " Scallop " 
and "center"; 
where the left side 
number differs from 
the right it means 
that that pivot hole 
when used in con- 
junction with the scallop marked similarly will produce the size printed on 
the "center" side. For instance: 36" o 20" means that a 20" center can 
be made with the 36" scallop. Or 18" o 9" means that a 9" doily with 
the 18" scallop, etc. 

LINGERIE, DRESSES AND ALL IRREGULAR SHAPES 

Find the size of scallop wanted on the article. Mark a line (leaving 
enough space to work the scallop) parallel with the edge. Start the scal- 
lops at a logical meeting point and place the scallops repeatedly until the 
space is covered. Small scallops vary so little that they adjust themselves 
to almost every use. 

Should further information be desired regarding the scallop marker or 
designing for Art Needlework, address 




IWi 



THE VON STUDIO, Inc. 



6032 WASHINGTON AVENUE 



PHILADELPHIA, PA. 



The Von Studio, Inc. 

A School for Designing 

for 

Home and Industrial Arts 



ASK FOR OUR LITERATURE 



6032 Washington Avenue 

PHILADELPHIA, PA. 



Concordia res parve crescunt discordia maximae 
dilabuntur 



GRACE G. MURPHY 

104 Merion Avenue 

Art Needlework NARBETH, PA. 

Designing in All Branches 

Stamping 

Painting 

Dress Embroidery and Beading a Specialty 



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